MU4049 Dissertation 51229076 (FINAL)

TITLE: The Compositional Style of Frank Ticheli's works for Concert
Band:
Symphony No. 2, Vesuvius & Blue Shades
Dissertation submitted in part requirement for the degree of BMus (Hons)
BY:
Eilidh Joanne Fraser: 51229076
MU4049
Department of Music
University of Aberdeen
27th
April 2016
Word Count: 10,566

Abstract
This undergraduate study will look at American composer Frank Ticheli and what makes him
stand out as a popular name in concert band music. It will look at three musical works from
the modern composer where it will be shown that in each one, Ticheli provides each of their
own contrasts and similarities in terms of musical content.
The compositions studied will include a 20-minute length symphony of programme music
containing three contrasting movements, a 9-minute historical based work and an 11-minute
more relaxed piece based on a specific musical genre. This dissertation will look at each
complementary narrative and see how Ticheli skilfully makes the most out of the available
musical structure. It will also show how he explores the distinct instrumentation in the
ensemble and creates memorable themes with the vibrant timbre and musical techniques
available.
This analysis will co-inside with a critique on assorted literature from John Darling, Linda
Moorhouse, Dr. David Whitwell, Richard Franko Goldman, plus will feature notes from the
composer Frank Ticheli himself.
Alongside this study of Ticheli’s music from the late 20th
to early 21st
century, this
dissertation also takes a look into the educational background of the composer through his
conducting and composition, the youth projects he is a part of and how his musical and
personal inspirations helped him to create his own musical voice.
The conclusion is to show that Frank Ticheli has the expertise that disperses the previous
conceptions of concert band music. Ticheli does this with contrasting time signatures,
musical layers and the use of the more rare instruments in the ensemble itself.

Page i 51229076
Acknowledgements
I would like to thank everyone at the University of Aberdeen Music Department for all of their
support over the past four years, all of the lecturers, visiting tutors and of course, my fellow
classmates for a lot of laughter at mainly terrible musical puns.
In particular, I would like to thank Pauline Black for her guidance and enthusiasm this past
year for this dissertation, Jonathan Stephens and Pete Stollery for their guidance in helping
me complete my composition portfolio. I owe the past two years of this studying this degree
to Richard Ingham, a living legend of a saxophonist, thank you for giving me the inspiration
to play the saxophone better than I ever thought I possibly could. However, I would not have
made it here without Dorothy Menzies, David Evans, Lydia Jackson and Wendy Ritchie’s
encouragement in the first place.
I would not have been able to discover Frank Ticheli’s wonderful music if it was not for the
University of Aberdeen Concert Band, kind regards to the members of this ensemble for
giving me the chance to play a small part in this ensemble with concerts in various venues,
to grow a loving devotion to wind and concert band music in general. It was also the kind
generosity of the committee that let me borrow the conductor’s score of Symphony No. 2
and Vesuvius for this dissertation that I am most grateful for.
Kind regards to the composer in question, Mr. Frank Ticheli. Thank you for creating inspiring
works of art that are a key influence to youth and community bands all across the world. It is
an absolute honour to be able to not only play the tenor saxophone part in our band’s
interpretation of your compositions but to also be able to be given this opportunity to study
your works further.
Acknowledgement goes to Meredith Music Publications in specifically broadcasting literature
on wind band, Manhattan Music for sharing Ticheli’s music online and the North Texas Wind
Symphony for releasing high quality recordings of all three works.
Special and personal gratitude goes to my family from the North Highlands for being
incredibly supportive during my time studying in Aberdeen, it still shows no bounds of
stopping so thank you. To my work family for their constant care and love. To Scott Findlay,
for being my ray of sunshine, especially in the last few weeks leading up to final deadlines.
To my best friend of 15 years, Connie McNeill, who is still a key part of my life, thank you for
being my rock despite the distance between us. Last but not least I would like to dedicate
this study to my dear friend, fellow band mate, work colleague and flatmate, Struan Simpson
for being as passionate about concert band and woodwind instruments as I am and for
helping me so much these past six years or so, both in the Highlands and here in Aberdeen
City.

Page ii 51229076
Abstract....................................................................................................................................
Acknowledgements ................................................................................................................
Introduction ........................................................................................................................... 1
Chapter 1 – The Composer: Frank Ticheli.......................................................................... 2
1.1: Brief Background/Biography .............................................................................. 2
1.2: Conducting ........................................................................................................... 2
1.3: Educational Methods........................................................................................... 3
1.4: Composing (American Music) ............................................................................ 4
1.5: Inspiration............................................................................................................. 6
Chapter 2 – Symphony No. 2 ............................................................................................... 8
2.1: Narrative Behind Composition ........................................................................... 8
2.2: Movement 1: Shooting Stars ............................................................................ 10
2.2.1: Form ....................................................................................................... 10
2.2.2: Main Themes ......................................................................................... 10
2.2.3: Instrumentation..................................................................................... 13
2.3: Movement 2: Dreams Under A New Moon....................................................... 19
2.3.1: Form ....................................................................................................... 19
2.3.2: Main Themes ......................................................................................... 19
2.4: Movement 3: Apollo Unleashed........................................................................ 26
2.4.1: Form ....................................................................................................... 26
2.4.2: Main Themes ......................................................................................... 26
Chapter 3 – Vesuvius.......................................................................................................... 37
3.1: Narrative Behind Composition ......................................................................... 37
3.2: Form .................................................................................................................... 38
3.3: Main Themes ...................................................................................................... 38
3.4: Instrumentation.................................................................................................. 41
Chapter 4 – Blue Shades .................................................................................................... 46
4.1: Narrative Behind Composition ......................................................................... 46
4.2: Form .................................................................................................................... 47
4.3: Main Themes ...................................................................................................... 48
4.4: Instrumentation.................................................................................................. 50
Conclusion........................................................................................................................... 56
Appendices.......................................................................................................................... 57
Discography ........................................................................................................................ 67
Bibliography ........................................................................................................................ 69

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Introduction
It is often rare to find a composer of recent times who writes various works for many different
ensembles to have made an impact to so many in one particular niche. Although Ticheli has
written oeuvres for orchestras, choruses, chamber and wind ensembles, his name is highly
established in the world of wind and concert band repertoire, writing commissions and
personal works all varying in difficulty, with a high number recognised as standard works for
certain educational grades in their recommended repertoires.1
Frank Ticheli’s compositional style has shown a sense of diversity with tonal, lyrical and
structural content without all of his works following the same formula all the time. The pieces
for concert band that will be looked in this study will be at the more advanced grades for
concert band, which covers the much-needed musical standard from advanced high school
college/university and professional ensembles.
The main focus of this subject is to highlight all of the individual works’ contrasting musical
content, the effective use of narrative and orchestration that makes Frank Ticheli a
composer who has contributed to the wind band world. Furthermore, it also shows how he
influences students both in the fields of performance, conducting and composition.
What was previously insinuated with concert band music was that there was a lot of
repetition, including the use of more simple motifs in previous works. Here this dissertation
will take a look at the many ways in which Ticheli pushes the boundaries of traditional
concert band repertoire.
One example is the construction of many musical layers used in his music. The second
circumstance is the use of instruments that were tend to be put to the background, the bass
clarinet for instance.2
Through this study of Ticheli’s compositions, another core motivation will be to look at the
contrasting narratives of each of these concert band works and see how each one
contributes to the work as a whole.
1
Frank L. Battisti, The Winds of Change: The Evolution of the Contemporary American Wind
Band/Ensemble and its Conductor (Galesville, 2002), p. 166.
2
Linda R. Moorhouse, ‘Frank Ticheli’, in Timothy Salzman (ed.), A Composer’s Insight: Thoughts,
Analysis and Commentary on Contemporary Masterpieces for Wind Band (Galesville, 2006), pp. 199-
269, at p. 209.

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Chapter 1 - The Composer: Frank Ticheli
Brief Background/Biography
Frank Ticheli has been quoted to be ‘one of the most performed, recognised and successful
composers in the wind band world.’3
Born in Monroe, Louisiana in 1958, his early childhood
was spent just outside of New Orleans, the centre of traditional jazz music at the time.4
He
began to play the trumpet before relocating to high schools in Texas, then re-joining wind
bands in Richardson Junior High School, where his fellow pupils there inspired him to get
fully into ensemble music.5
After a difficult start in terms of finding jobs after graduating from
the University of Michigan, he moved to California where he has now been the Professor of
Composition at the Thornton School of Music since 1991. Ticheli was also Composer in
Residence of the Pacific Symphony Orchestra in Orange County.6
He now lives with his wife
and two children in California, where he balances his teaching with both the composition and
conducting of his own works.7
Conducting
Frank Ticheli is also seen as a well-respected conductor, especially of his own compositions,
appearing at key places such as the Carnegie Hall. Ticheli, therefore, has shared his
experience of conducting with his students in conjunction with when he takes part in several
university workshops and music festivals across the world.8
The composer himself has a
great admiration for numerous conductors; in fact most of his compositions have been
dedicated to several, as he says they have been devoted to those who have given him
commission to write in the first place.9
In the book Composers on Composing for Band,
Ticheli talks about the importance of conducting musical works to him in great detail. In this
3
Moorhouse, ‘Frank Ticheli’, p. 199.
4
Frank Ticheli, ‘Frank Ticheli’, in Mark Camphouse (ed.), Composers on Composing for Band
(Chicago, 2002), pp. 349-84, at p. 349.
5
Banddirector.com, An Interview With Frank Ticheli, banddirector.com [Website],
http://www.banddirector.com/article/pg-interviews/an-interview-with-frank-ticheli (Authored 2008,
Accessed 18th March 2015).
6
Ticheli, ‘Frank Ticheli’, p. 349.
7
8
Concert Series Programme Note: University of Hartford, The 2014 Unclaimed Property Composer-
in-Residence Presents: Frank Ticheli.
9

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book, Ticheli discusses how the work of Chopin and Mahler have inspired him in his own
work.10
Behind each of his works, Ticheli mentions how he trusts conductors who read more into the
music that they are about to conduct. He says that these conductors are the ones who are
questioning the reason why the music is written. Afterwards they fully grasp a thoughtful
analysis of the work itself, looking into the musical analysis, the composer’s viewpoints and
the expressive content.11
In the Guide to Score Study for The Wind Band Conductor, this
point is the key criteria that Battisti and Garofalo first discuss in the book, where ‘as much
imagination, insight, and understanding’ is desperately needed.12
In an interview with Novus Radio, the video recording shows footage of a concert band
rehearsal, showing how Ticheli passionately conducts and engages the musicians of the
wind ensemble, which in itself is encouraging to watch. 13
In another video during a
performance of Blue Shades, will be looked in Chapter 4 of this thesis, Frank Ticheli has a
clear, precise yet passionate, emotional way in the way he conducts the University Wind
Ensemble during this performance. As seen on the footage, he engages all the individual
players with their motifs enthusiastically by quietly singing along to them and using various
facial expressions to bring the element of theatre and liveliness to the performance.14
Educational Methods
Frank Ticheli had often expressed his views on the education of composition and how he
believes that it is often a difficult subject to teach. What he often shares with his students is
the positivity behind their own individual power to go forth and listen to various genres of
music, which is habitually forgotten and is not always included in teaching although it can be
extremely valuable.15
His teaching approach is very passionate and focused yet he comes
across as a down to earth and natured human being, especially from his videos produced by
10
Ibid., pp. 357-60
11
12
Frank L. Battisti & Robert Garofalo, Guide to Score Study for The Wind Band Conductor
(Galesville, 1990), p. 8.
13
Frank Ticheli, Novus Radio/TV: Frank Ticheli [YouTube],
https://www.youtube.com/watch?v=cyegAWTm6as (Authored 2011, Accessed 4th February 2016).
14
Frank Ticheli, Frank Ticheli Conducts Blue Shades [YouTube], https://www.youtube.com/watch?v=-
OblozP6Z2Y (Authored 2011, Accessed 4th February 2016).
15

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the Californian University he now teaches at.16
He uses this down to earth approach to
encourage his students to go into conducting and composing as much as possible. He also
recognises that the younger ensembles around the world play a lot of his own wind band
works and takes great pride in that fact.17
Most of his music for concert band has been recognised as educational for the younger
ensembles, after receiving requests to help conduct with concert bands from numerous
schools. Ticheli himself found passion in the social aspect of conducting youth ensembles
and decided to compose music for them, believing that helping out with the earlier bands can
aid his own skills and spread aspiration for music to more local and cultural ensembles.
Therefore, Ticheli mentions how the young players are just as worthy of playing a musical
piece full of style and importance as much as the advanced ensemble, as he personally
receives a feeling of freshness and liveliness behind every group he writes for.18
Although he
says it generally takes a shorter amount of time to be able to write a work for younger
musicians, Ticheli states on his interview with Band Director, how composing for youth
ensembles for him is just as trying as it is for a band of a more proficient standard.19
He
discusses why it is just as hard to write a piece that is suitable for the lower grades; to him it
is much more than just the limited use of timbre, dynamics and technique. To get an overall
idea of what compositions need to match a certain grade for a younger band, a Grading
Chart from Band World and a copy of the music grading guidelines by the FJH Music
Company have both been included in this dissertation, refer to Appendices 1 and 2.20
Composing (American Music)
Frank Ticheli is recognised for his unique and memorable compositions for the popular
American Wind Band.
In America, Concert Bands are constantly in high demand across the country and altogether
show a higher level of standard and expertise throughout, compared to wind bands here in
Great Britain. Goldman himself mentioned in his book that he thought the wind band is
nothing short but a musical wonder and the group has created a lot of attention in terms of
16
Frank Ticheli, Frank Ticheli is Professor of Composition at the USC Thornton School of Music
[YouTube], https://www.youtube.com/watch?v=Ga9Raeqzm8s (Authored 2011, Accessed 4th
February 2016).
17
Banddirector.com, http://www.banddirector.com/article/pg-interviews/an-interview-with-frank-ticheli.
18
Ibid., http://www.banddirector.com/article/pg-interviews/an-interview-with-frank-ticheli.
19
Moorhouse, ‘Frank Ticheli’, p. 199, Banddirector.com, http://www.banddirector.com/article/pg-
interviews/an-interview-with-frank-ticheli.
20
Appendix 1, p. 58; Appendix 2, p. 59.

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anthropology, where the number of different concert bands across America has grown into
hundreds and thousands.21
However, in Europe, during the eighteenth and nineteenth
centuries in particular, concert bands were mainly used more for either the court, the church
but were mainly recognised for use in the military as there were was a high demand for
them.22
Dr. David Whitwell discusses in his book about wind bands in the Classical Period
about the different uses of the wind band in Europe, where in particular he deliberates how
the clarinet circumstances the early foundations of English military music. 23
There have often been complications when it comes to composing for the concert band in
terms of instrumentation, whether it is the available number of instruments in the ensemble
or the range and characteristic sounds of each instrument.24
The instrumental families
however of each concert band across the world are incredibly similar, with the experimental
woodwind family of complementary instruments mainly involving flutes, oboes, clarinets,
saxophones and bassoons that need to be conducted with substantial maintenance by the
composer in question.25
This is blended with the brass family who are more consistent with
the design of all of their instruments even though their playing techniques are similar to their
woodwind companions.26
The group that contrasts completely to the other sections of the
ensemble and has expanded the most throughout time in the concert band is the percussion
section, with their wood, skin and metal instruments.27
Modern wind band music nowadays can come from a variety of different backgrounds and
have a complementary account for many diverse events, which is what Frank Ticheli himself,
thrives on the most. As of right now in the year of 2016, Ticheli has written over 36 works for
the concert band ensemble and that number is growing as he has been composing for
nearly 40 years now, refer to Appendix 3 on an updated list of his concert band works.28
Ticheli has mentioned that he personally feels he initially started composing later than he
wished he had done. However he started studying a music theory and composition course
21
Richard Franko Goodman, The wind band, its literature and technique (Westport, 1962), p. 5.
22
Dr. David Whitwell, A Concise History of the Wind Band (Texas, 2010), p. 267.
23
Dr. David Whitwell, The History and Literature of the Wind Band and Wind Ensemble: IV The Wind
Band and Wind Ensemble of the Classic Period (Texas, 2012), p. 105.
24
Goldman, The wind band, its literature and technique, p. 152.
25
Margaret Lucy Wilkins, Creative Music Composition: The Young Composer’s Voice (New York and
London, 2006), p. 140, Goldman, The wind band, its literature and technique, p. 153.
26
Goldman, The wind band, its literature and technique, p. 154, Wilkins, Creative Music Composition:
The Young Composer’s Voice, pp. 144-5.
27
Wilkins, Creative Music Composition: The Young Composer’s Voice, p. 145.
28
Appendix 3, p. 60.

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as his undergraduate degree in Dallas, before getting asked to write for the wind ensemble
in Texas.29
When it comes to defining his own style of musical writing, he does say there is nothing too
exclusive or distinctive to what he initially brings to the manuscript as he brings forward the
borrowed criteria of form, structure and concepts whether they would be harmonic, melodic
or thematic.30
One thing that does stand Ticheli’s music out to most concert band works is
his expert use of musical colour, organised structure and lack of tutti, repetitive melodic
writing.31
When composing music for younger ensembles, he has been known to also write
music with an unassuming musical structure but to still retain that dominant and prevailing
response during the work.32
In the Band Director interview, he discusses his influences
behind composing, it comes from him sitting in front of blank manuscript and putting a lot of
effort into his writing where the musical ideas start to appear.33
Inspiration
When Ticheli discusses how he got into musical writing, the first encouraging figure he
mentions was his dad. His father was the person who established jazz music to him, mainly
through listening to many records and by purchasing him a trumpet when he was a child.34
Another key influence he talks about is his Texas high school band director, Robert Floyd,
stating that he was the core motivation behind his informative musical literature for younger
ensembles.35
In the book Composers on Composing for Band, Ticheli also talks about how
his composition lecturers at the University of Michigan were a key inspiration to him in terms
of his writing, one he mainly talks about was his mentor Robert Reynolds who persuaded
Ticheli to write lots of wind band music in particular.36
When it comes to inspiration in terms of composers, Ticheli certainly is not short of a few
musical writers and their corresponding works that have helped him to bring forth his own
musical voice. The book Composers on Composing for Band proves to be the best resource
into finding out more about Ticheli’s musical stimulation, as two sections are written about
the music that the composer finds motivating. One section is dedicated to ten works that he
29
30
31
Ibid., p. 208.
32
Mark Aldrich, A Catalog of Folk Song Settings for Wind Band (Galesville, 2004), p. 2.
33
34
35
Ibid., p. 367.
36
Ibid., p. 368.

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believes all conductors should study, separated in terms of musical genre. The other section
contains composers of music that emotionally stimulate and inspire Ticheli in lots of ways,
particularly in terms of compositional writing.37
He lists various contrasting composers, from
the Baroque composer Bach to the more minimalist writer of John Adams, to cover a wide
range of musical genres and to prove that listening to a lot of music is essential in all aspects
of music as a career.38
37
Ibid., pp. 368-75.
38
Ibid., pp. 373-5.

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Chapter 2 - Symphony No. 2
What Ticheli has called himself as being one of his most impressive and established
compositions for concert band, this immense work Symphony No. 2 combines the elements
of programme music in such a fine and powerful detail, especially in terms of expertly crafted
instrumentation for concert band. The work combines three movements, Shooting Stars,
Dreams Under a New Moon and Apollo Unleashed, each with their own idea and structural
form that in turn can all be played altogether as a symphony or individually. Each movement
is therefore recognised to be ensemble studies that can be played for respected
competitions and concert band festivals all across the world. Ticheli provides ‘Descriptive
Performance Notes’ highlighting the key parts of each movement that the players and the
conductors need to be fully aware of, discussing the effective use of dynamics, timbre and
musical colour specifically. These three movements all differ in terms of content but they
excellently work together as a symphony of intense harmony, melody and contrasting
rhythms. The most recent of his works published that is discussed in this dissertation,
Symphony No. 2 is definitely the most challenging in terms of musical character and
aptitude. This in turn gave Ticheli his well-deserved acclaim for this stimulating work, with
critics writing that he had a talented ear for composing music for concert band and that he
gave his works a great liveliness and buoyancy behind them.39
Narrative behind composition
This musical masterwork was written particularly dedicated to James E. Croft, who was
Professor of Music Emeritus in Florida and had always been a key influence to Ticheli as to
getting the right commission and recognition for his works, refer to Appendix 5 on the
dedication to Symphony No. 2.40
The professor himself was incredibly impressed and
indebted to Ticheli’s musical writing behind the symphony and he was also exceedingly
thankful to the personal effort of getting previous students and lifelong friends of his to be
part of the premiere.41
Symphony No. 2 was then performed in Michigan for its premiere, in
regards to Croft for his dedication to wind ensemble music, conducting and instruction.42
This work was stirred and linked to the astronomical matters in life, or as Ticheli called it,
‘celestial light’. This work in particular has connections with the use of light, space, shooting
39
40
Appendix 5, p. 62.
41
Ibid., p. 228.
42
Frank L. Battisti, The Winds of Change II: The New Millennium: A Chronicle of the Continuing
Evolution of the Contemporary American Wind Band/Ensemble (Galesville, 2012), p. 73, Frank
Ticheli, Symphony No. 2 for Concert Band (New York, Manhattan Beach Music, 2004), Dedication.

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stars, the moon and the sun.43
Symphony No. 2 is one of the works in his compositional
repertoire that Ticheli has the most pride for. This sense of regard was toward each of the
movements’ own contrasting elements in terms of musical writing and use of emotional
drama, the movement that was mentioned specifically in A Composer’s Insight was the
second movement.44
43
Ticheli, Symphony No. 2 for Concert Band, Program Notes.
44

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Movement 1: Shooting Stars
Ticheli started writing the first movement, Shooting Stars, after he had imagined rapid sparks
of inspiration. Here, he was discussing his stimulus for musical colour, which is perhaps a
possible incentive to start the astronomical theme for this composition.45
However, according
to the book, A Composer’s Insight, the first name for this movement was actually Dancing
with Angels before a sudden change of title by the composer after the Florida premiere.46
The first movement has been mentioned by Ticheli to be transcribed as a confident
movement, where this musical colour stated is a key feature throughout the movement. The
energy, dynamics and varied use of instrumentation are the key emphases in this
preliminary movement to bring the distinguishing, cosmological effect to the concert band
oeuvre.
Form
Shooting Stars uses what is known as a quasi rondo form, as the three main themes in the
movement are repeated throughout with only slight dissimilarities, this will be discussed later
on in the chapter. The individual sections of this first movement consist of mainly the A, B, C,
D, Transition and Coda sections, where the A section is recurrent several times with each of
their own distinctions. Nevertheless, the B section is more lyrical in comparison, the C
section has a dance based theme and the D section uses the origins of counterpoint.47
The
length of the movement may be short, but Ticheli states that even that is crucial to the
overall result to the work, saying he finds it similar to the length of time someone might see a
shooting star, in the blink of an eye.48
Main Themes
There are three themes that are presented within the first sixteen bars of this leading
movement; these three themes are the main motifs that are used throughout, refer to Track
1 to listen to the audio excerpt from the North Texas Wind Symphony of all three themes.49
Both the E flat clarinet and the 1st alto saxophone play the key theme or the ‘shout’ motif
that features on various instruments right through the movement. The theme on the alto
45
46
47
Ticheli, Symphony No. 2 for Concert Band, Descriptive Performance Notes.
48
49
Track 1, p. 68, Frank Ticheli: Symphony No. 2, Shooting Stars, North Texas Wind Symphony,
Eugene Migliaro Corporon, (Recorded 2006, GIA Publications, Inc., Released 2006).

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saxophone is the example shown below and it is played a 12th
or compound 5th
below the
clarinet. Here the clarinet and alto saxophone screech out the high E flat note, to add to the
quantity of anxiety and intensity to this first theme but also to make the best use of
instrumentation, mainly the higher notes of the E flat clarinet especially.
Example 1: The main theme of Shooting Stars from the first bar.
50
The second theme here is known as the ‘rocket gesture’, where the trumpets play a fast
passage of quintuplet notes with a straight mute, from the C major chord to the B flat major
chord to finish. These diatonic clusters of thirds between the 1st
and 2nd
trumpets, with the
accompanying notes from the 3rd
trumpet, altogether sound hasty and penetrating before a
startling fortepiano note into the sforzando.
50
Ticheli, Symphony No. 2 for Concert Band, p. 1.

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Example 2: The rocket theme from bar 1 on Trumpets.
51
Finally, here is the third theme, which features mainly the brass. The lower instruments of
the ensemble play staccatissimo, syncopated chords in order to exaggerate the bounce and
leaping like elements of the entire movement. With the use of the lower brass, the chords
start to sound stronger and more colourful overall.
Example 3: Brass chords from bar 7.
52
51
Ibid., p. 1.
52
Ibid., p. 2.

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These three main themes are the key to introducing the lively and charismatic idea of the
first movement. The dynamics that Ticheli embraces are also vital in this movement in terms
of developing the responsibility of superiority that is needed for this work, for example these
dynamics need to be observed by the players in order to drive the energy needed for the
entire movement. The quote given from the composer’s own performance notes, discusses
the use of the fortepiano of the trumpets at their theme in the first bar, this is so that it does
not overpower the first theme played by the E flat clarinet and alto saxophone.53
Once they’ve sounded their ‘rocket gesture’ they get out of the way for the clarinet
and saxophone ideas, and then crescendo again and finish up with the clarinet
theme.
Instrumentation
Refer to Appendix 4 on the instrumentation of Symphony No. 2.54
The B lyrical theme is
repeated three times throughout and is shared between different instruments of the concert
band.55
The first time it is played, it is shared with the French Horns and Euphoniums, where
the theme is mainly triplet chords. This is meant to create a different feel to the first forceful
theme from the A section. The example here is taken from the 1st
and 2nd
French Horn parts.
Example 4: Lyrical B Theme by French Horns from bar 18.
56
The second time the B theme appears is at bar 67, where the flutes and the oboes play the
same triplet chord theme. This is before the trumpets follow with the same theme in bar 74.
53
54
Appendix 4, p. 61.
55
Track 2, p. 68, Ticheli: Symphony No. 2, Shooting Stars, North Texas Wind Symphony, Corporon.
56

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Example 5: Lyrical B Theme by Flute 1 from bar 67.
57
The third time the B theme appears is back with the French Horns but this time it is in a
calmer tempo, it is more tranquil with the intonation and it is now in 3/4 crotchet beats as
supposed to triplet crotchets in 2/4. This repeat of the B theme is what Ticheli refers to in his
notes as ‘a little island’, refer to Track 3.58
The theme is then recurrent but is played by the
saxophones from bar 113.
Example 6: Lyrical B Theme by French Horns from bar 109.
59
The French horn theme is also accompanied by the solo bassoon, which plays a
counterpoint themed solo for the same amount of time.
Example 7: Bassoon Solo from bar 109.
60
57
58
59
60
Ibid, p. 24.

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The 1st
clarinet then plays its own solo when the saxophones come in with their theme. Soon
after the saxophones play, the flutes interrupt at bar 117 before the rest of the concert band
use pointillism, with the vibraphone keeping the beat with semiquavers.
From bars 44 to 61, this is where the C section is found.61
This section follows a long short
pattern in terms of rhythm with its notes, creating lively and lightweight motifs. It also
features interesting time signature changes, with 3/8, 7/8 and 9/8 being used. 62
This
example shows the long short idea in the upper woodwinds, mainly the piccolo and 1st
flute
and oboe parts.
Example 8: C Section from upper woodwinds, piccolo, flutes & oboes from bar 44.
63
The flute has an optimistic declaring solo where one player first plays it before being played
by all of the flute parts, where it is written as tutti from bar 52. Here it features elements of
the ‘shout’ motive before it uses the same long short idea with notation.64
61
62
Ticheli, Symphony No. 2 for Concert Band, p. 10-2.
63
64
Ibid., p. 11-2.

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Example 9: Flute 1 Solo from bar 49.
65
The theme ends with most of the entire wind ensemble playing staccato quavers to a
fortepiano semibreve, before an even louder crescendo to fortississimo at bar 60.
65

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Example 10: Staccato Quavers from bar 57.
66
The brass instruments, mainly the French horns, the trombones and the euphonium play a
fragment of the lyrical B theme in the background of all the staccato semiquavers, where it is
joined by the bass clarinet and bassoons at bar 59.
Example 11: Lyrical Theme by Brass from bar 57.
67
66
Ibid., p. 13.
67
Ibid., p. 13.

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The D section of the movement is an incredibly effective way of proving Ticheli’s effective
use of narrative and drama, especially in terms of instrumentation and musical structure,
refer to Track 5.68
This has been told to be a particular favourite of his; in regards to his use
of polytonality and the way all of the structural layers cooperate. The main key that Ticheli
has chosen for this section is initially A Flat Major although there’s an additional G Flat, there
are minor 6ths and the flutes play a D Flat Major related passage. Here, in-between bars 83
and 86, there are three counterpoint layers creating a section filled with colour. The first layer
is played by flute 1 as a solo with additional notes, alongside a flute 2 and piccolo echo. The
second layer is the jumping, staccato, quaver passage that is played by the oboes, the E flat
clarinet and the 1st
alto saxophone. The third and final layer is where the clarinets and
bassoon play the ascending syncopated notes in parallel sixths. 69
Example 12: D section Counterpoint from bar 83.
70
68
69
Ibid., p. 18-23.
70
Ibid., p. 18.

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Movement 2: Dreams Under a New Moon
This next movement is much slower in comparison and is very expressive, with a lot of
intense power. Dreams Under a New Moon characterises four dream based themes or
passages, that take the listener through an openhearted, trancelike narrative, sounding
unnatural yet calming at the same time. Different emotions from these contrasting dream
episodes are explored, from the secretive to the more peaceful in comparison. Ticheli said
he himself drew creativeness from this work by imagining himself on a boat that sits on a still
lake. So consequently, he takes a blues themed approach and daydream persona to his
musical writing.71
Modulation plays a key part in this movement as it creates layers filled with
emotional uplifting before even more of a use of expertly crafted counterpoint.
Form
The second movement of this symphony is seen as through composed, to the point where it
is the most free and flexible movement of the work. In spite of what form this slow movement
follows, Ticheli in addition, talks about how the harmony of themes is crucial in creating the
stability needed for the movement itself. The use of the through composed structure of this
movement therefore inspires the conductor to express it more musically and freely, meaning
that not one play through of this movement will sound the same as the first.72
The use of the
‘chant’ theme alongside the main theme helps the movement to close with a dramatic
climax, before ending with a coda where the music dims to a B Flat Major chord with an
added augmented sixth.
Main Themes
The ‘chant’ theme, which itself is a name that is often shared in Big Band musical terms, is
initially played in parallel compound thirds by both the piccolo and muted trumpet.73
Here,
the trumpet plays from the B Flat minor scale with a dimished 5th
(F Flat or E natural) and the
trumpet plays from the D minor, also containing a dimished 5th
(that being the A flat). The
primary example below shows the first trumpet part from bar 19, which is transposed into B
Flat.
71
72
Ibid., p. 217.
73
Track 6, p. 68, Ticheli: Symphony No. 2, Dreams Under A New Moon, North Texas Wind
Symphony, Corporon.

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Example 13: Chant theme by solo trumpet from bar 19.
74
This next example shows what the same solo chant theme looks like from the piccolo with
the flute 1 cues, written in the correct concert pitch.
Example 14: Chant theme by piccolo with Flute 1 cue from bar 19.
75
The same theme repeats again in bar 82 before the oboe begins the relaxing canon section.
Ticheli makes a reminder in his performance notes that both soloists should steady and
counteract each other, along with the slothful sounding trombone glissandos that accompany
them.76
Another theme that appears throughout the movement is what Ticheli refers to as the ‘call-
motive’, which is used to write the storyline of another dream he had envisioned.77
In this
theme, this is where Ticheli uses the minor third to create the element of musical colour and
vibrancy. This ‘call motive’ is first found with the flutes from bar 27, where the composer
uses various lengths of triplet notes to create a complex yet stimulating idea after a slower,
calmer first theme from the piccolo and trumpet. The main motif occurs the bar after 28, with
the use of sforzandos and jumping notes. This is the idea that is also shared with the other
instruments of the ensemble later on in the movement.
74
75
Ibid., p. 44.
76
Ibid., p. 44-5.
77
Symphony, Corporon.

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Example 15: Call Motive by Flutes from bar 26.
78
The alto saxophone solo at bar 41 is an additional key moment in the movement, as it
changes the dreamy atmosphere and makes it a lot more penetrating and shady in
comparison.79
The whole concert band plays the same accented scotch snap like notations
on the second beat of the bar before the first alto saxophone screams out his own version of
the minor call motive in an daunting fortissimo dynamic. Ticheli makes sure that the soloist
plays with authority and strength; he even includes it into the actual music itself, which can
be seen in the example below.
Example 16: First Part of Alto Saxophone Solo from bar 41.
80
Despite the fact that the whole dynamic of the band decreases from bar 52, the amount of
strength and power from this solo is still critically important. The example below shows the
second half of the alto saxophone solo.
78
Ibid., p. 46.
79
Symphony, Corporon.
80
Ibid., p. 50-1.

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Example 17: Second Part of Alto Saxophone Solo from bar 52.
81
Fragments of this solo are found later on in the movement, as it is shared with the other
instruments of the ensemble. The repetition of various musical and structural themes is a
commonly used idea that Ticheli likes in his works in order to create a successful musical
description.
Instrumentation
The lower instruments
often play an ascending subject, to create suspense and still keep the astronomical element
of the entire symphony within the movement. 83
The first example is from bar 9, where the
French horns, Trombones and Euphoniums in the brass section and the Bassoon, Tenor
and Baritone saxophones in the woodwind section all play mezzo piano quavers which are
eventually tied to a crotchet, to sustain the inclusive tension.
81
Ibid., p. 53-4.
82
Appendix 4, p. 61.
83
Symphony, Corporon.

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Example 18: Brass passage from bar 9.
84
This idea is then familiar to the listener when you get to bar 120 onwards of the movement.
From 122, there is an extensive, steady accelerando to bar 145 where slight variations of
this recognisable motif are spread throughout to expand the feeling of anxiety as it
crescendos bit by bit. It is more identifiable in the piccolo, flutes, second clarinets and first
trumpet from bar 133, where it turns into a sequential idea containing minor thirds and sixths.
Example 19: Piccolo idea from bar 133.
85
The upper woodwinds are essential in this movement to bring a light, dreamlike component
to the movement overall, sounding weight free and effortless. A good example is from bar 15
where they play a series of demisemiquavers, where Ticheli says this is where the music
wanders and roams serenely. In his performance notes, he writes out the two triads or
scales that are essentially used, even throughout as the main chords that are used for
concepts. Ticheli uses blues elements, where the flattened third, fifth and seventh of the
scale of the tonic key of B Flat Major actually helps to create a D Flat minor chord. Here he
also uses an added sixth note to the B Flat major scale, then writes and explains as this
example down below.
84
Ibid., p. 42.
85
Ibid., p. 65-70.

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Example 20: Scale example taken from Performance Notes.
86
So in bar 15, the upper woodwinds, including the first alto saxophone for one bar, play a
demisemiquaver idea in a mezzo piano dynamic which diminuendos as the first clarinet
finishes with a tremolo on bar 18.
Example 21: Demisemiquavers from bar 15.
87
An additional technique Ticheli expertly crafts out with the upper woodwinds is using a four-
part canon to represent a tranquil, therapeutic impression of a dream, which starts from bar
86
Ibid., Descriptive Performance Notes.
87
Ibid., p. 43-4, Track 10, p. 68, Ticheli: Symphony No. 2, Dreams Under A New Moon, North Texas
Wind Symphony, Corporon.

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84 with an oboe solo. 88
The clarinet 3 and bass clarinet parts hold on to the pedal A note
(written as a G in the B flat clarinet part) as the clarinet 1 and 2 parts slowly ascend in terms
of notes, before being joined by the oboe and flute 1. After the chaotic ‘outrage’ section
featuring all of the instruments of the ensemble, alongside the alto saxophone cry, this
creates a completely distinct sound. This opposing element of the movement is more
effective in a more uplifting level with the aspect of just having one soloist to a part.
Example 22: Four Part Canon from bar 84.
89
Both bassoon parts join in from bar 94, where additional flats are then added throughout the
passages. The tenor and baritone saxophone then also have a solo passage from bar 104,
which creates a small amount of strain to the overall canon itself. This canon finishes in bar
109, where the trombone comes back with its glissando, which is an effective moment as it
reoccurs in this movement, making this part of the dream narrative sound sleepy and
lethargic, not to mention amusing to the listener.
Example 23: Trombone Glissando from bar 109.
90
88
Symphony, Corporon.
89
90
Ibid., p. 63.

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Movement 3: Apollo Unleashed
This final movement of the work, Apollo Unleashed, is seen as the most extensive and
vigorous one of the three. Nevertheless, it is not the easiest to get a straight description from
it, to summarise the movement is actually quite challenging; this is even mentioned by the
composer himself.91
The closing movement of the symphony surprisingly did not appear in
the first Florida premiere, so it was published a year after the first edition of the symphony
which initially just contained the two movements. Ticheli discussed how this final movement
is comparable to the first in terms of the musical techniques and the performance based
liveliness and vibrancy behind it.92
With elements of music from Johann Sebastian Bach, a
favourite composer of the dedicatee, a dashing and strong main musical subject and the
major function of several accented notes in this movement, these different concepts are put
altogether to create the basis for an extremely climatic and aggressive finale to this dynamic
symphony.93
Form
According to Ticheli, the final movement is in a quasi sonata form, where it is based on two
different premises. The movement is split into what Ticheli writes on his performance notes
as five different sections; an introduction, exposition, development, varied recapitulation and
coda.94
In comparison to symphonic finales of a similar nature, the first idea is known in this
movement as a ‘galloping theme’, where it is a fast, rowdy and energetic passage. The
second theme is based on Bach’s Chorale BWV 433, which itself is in ternary form and a
reprise of both of the previous movements of the Ticheli symphony itself.95
Main Themes
As previously discussed with the movement’s form, Apollo Unleashed contains two main
themes; the first main idea is introduced when the clarinets at bar 31 deviously suggest the
idea. 96
The theme then appears in full at bar 47 in the Trumpet 1 part, where it is seen as
this quaver to semiquaver sequence, being played marcato.
91
92
93
94
Ibid., Descriptive Performance Notes.
95
Moorhouse, ‘Frank Ticheli’, p. 222-3.
96
Track 12, p. 68, Ticheli: Symphony No. 2, Apollo Unleashed, North Texas Wind Symphony,
Corporon.

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Example 24: First Theme on Trumpet from bar 41.
97
This motif is then shared throughout the entire concert band, in particular in the exposition
from the trumpets when they first play through the main theme. The example below is from
the development section at bar 142, where the flutes then play this theme higher up the
stave; evidently this theme is shown in this example written in concert pitch.
Example 25: First Theme on Flute from bar 142.
98
The second theme is based on Johann Sebastian Bach’s Chorale BWV 433. As this work
was a fond choice of the Director himself, Ticheli wanted to include the transcendent yet
poignant aspect to this movement to contrast and accompany the commanding, yet active
first theme.99
This majestic theme is found in the subsequent half of the exposition, where
the lower brass altogether carries the basis of this chorale from bar 103. 100
Here, Ticheli
labels each appearance of the chorale as a guide to the conductor and the brass players in
particular and this is the same throughout the movement.
97
98
Ibid., p. 101.
99
Ibid., Program Notes.
100
Corporon.

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Example 26: Bach Chorale First Section on lower brass from bar 103.
101
The upper woodwinds, mainly the flutes, clarinets and bassoons play small extracts of the
first theme alongside the brass’ adaptation of Bach’s musical work. This grand sound is
crucial to the movement to make it stand out in terms of musical narrative as a very strong
finale.
Lower woodwinds, saxophones and horns then play the middle segment of the Chorale from
bar 123, before the lower brass follow on with this section from bar 130. This example shows
the lower woodwinds, saxophones and horns that play from bar 124.
101

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Example 27: Bach Chorale Middle Section from bar 124.
102
The Bach Chorale then makes his final appearance in a forte dynamic at bar 235 in what
Ticheli calls the ‘Varied Recapitulation’, where once again it is found in the lower brass
including the French Horn 1 & 2 parts. 103
The upper woodwinds and saxophones all
accompany the brass with a set of semiquaver passages including the first sequence theme
in the flutes & piccolo, oboes, clarinets and alto saxophones.
102
103
Corporon.

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Example 28: Bach Chorale Final Section from bar 235.
104
The themes from the previous two movements also make a brief appearance as the
symphony approaches its coda. 105
They appear unexpectedly in the later half of the
development. This example is from bar 214, where the upper woodwinds fleetingly play the
chant theme from Dreams Under a New Moon, before the clarinets and saxophones repeat
the theme shortly after.
104
105
Corporon.

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Example 29: Dreams Under A New Moon extract from bar 214.
106
As soon as the audience, conductor and musicians of the ensemble are all reminded of the
second movement, the ensemble then plays the vocal subject of Shooting Stars in its
familiar orchestral layout. This same theme is then part of the last musical basis of the
symphony, as every player in the orchestra plays up to a fortississimo dynamic, ending with
a theatrical, volatile finale.107
106
107
Ibid., p. 124-5.

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Example 30: Shooting Stars extract from bar 220.
108
Instrumentation
The brass instruments
and lower clarinets (bass and contrabass) start this final measure with accented staccato
chords after a semiquaver passage, which in turn is followed by rolls in the percussion. 110
These chords set the thrilling and stressed tempo that carries out during the rest of the
movement, as the euphonium, tuba, bassoon, tenor and baritone saxophone players have
staccato minor scale quavers that increase in dynamic from piano to mezzo forte. This four-
108
109
Appendix 4, p. 61.
110
Corporon.

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note motif is a key theme within itself as it has appeared in the previous two movements. An
example of this is shown below from bar 13.
Example 31: Lower woodwind chords from bar 13.
111
Ticheli is recognised by those who know modern wind ensemble compositions, particularly in
various resources from Meredith Music Productions, he is known to often be using
compound time signatures in various groupings. Apollo Unleashed is a good example of his
musical writing that shows this in full. In bar 26, the bass clarinet, bassoon and saxophones
play quavers in the time signature of 12/8 where the grouping here is written as
(3+3+2+2+2), meaning that the set of quavers is first organised in two sets of three and then
is set in three sets of two. This is how he extends his many uses of noticeable hemiola
during the oeuvre, but he also keeps the beat steady through the time signature changes of
3/4 and 10/8 (3+3+2+2), creating a movement that contains a more complicated musical
structure. This extract below shows the saxophones and the lower woodwinds even play
staccato quavers from bar 25 before the 12/8 in bar 26.
111

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Example 32: 12/8 section on lower woodwinds and saxophones from bar 25.
112
The saxophones, contrabass clarinet and bassoons provide an imperative interlude in the
exposition, which is based on the first theme, so it is no surprise that it is also repeated at
several points in the symphonic finale. 113
This interlude first appears in bar 58, where it
involves a passage of triplet quavers that ascend then descend within the bar. This in turn is
a slight contrast to the resonance based on the dominant seventh chord, which is the
decided pitch arrangement that is played by the entire ensemble across the movement.114
Example 33: Saxophone Interruption from bar 25.
115
The upper woodwinds contribute to create a more motivating and compound structure in the
second half of the exposition. A particular place where they all create a stimulating assembly
112
113
Corporon.
114
115
Ibid., p. 86.

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of musical phrases is from bar 119; it is also from here where the mallet instruments from the
percussion join them. From here, fragments of the eleven note based ostinato is found in the
first trumpet and the sforzando of the French Horns. Furthermore, this is a mystical addition
to the Bach Chorale section that soon follows. Furthermore the upper woodwind section
brings a slight light-hearted feel to that particular segment.
Example 34: Upper Woodwinds from bar 119.
116
The timpani solo in bar 250 is clearly an important use of instrumentation as it helps to cue
the ferocious and exhilarating coda of this fast paced movement. 117
Ticheli comically
mentions that the tom tom cues in the percussion part are only to be used if the timpani set
is faint or the player himself is too cautious of playing loudly.118
This solo has to be played
aggressively, which is what the composer advises, as its part of the stressed, anxious climax
before the entire concert band finishes with a final fortississimo chord at the final bar of 269.
116
Ibid., p. 97.
117
Corporon.
118

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Example 35: Timpani from bar 250.
119
Consequently, to conclude the analysis of this mammoth work in a few short words is
relatively difficult, however Symphony No. 2 can be seen as a positive testimony that
emphasises the best fragments of Frank Ticheli’s musical expertise and style in his
compositional writing. This is especially in regards with how he can create a successful
narrative through his musical literature. The three complementary movements of this
symphony are also an indication to how vividly Ticheli can write for different musical styles
yet he is still able to define dense emotions. By looking through this detailed analysis of the
symphony, the useful examination sourced from Moorhouse in A Composer’s Insight and the
beneficial recording of Symphony No. 2 by the North Texas Wind Symphony, Frank Ticheli
successfully expresses these sentiments by merging the varied use of each instrument in
the ensemble and looking at their own extremes. Therefore, he is able to use each
instrument of the concert band to their full potential but is also capable to create individual
characters from each section. With the large amount of energy and memorable themes he
adds to this symphony, it makes the work an enjoyable experience for the players to be able
to perform this work but in addition, makes it a remarkable piece of music to listen to and
examine. What makes Ticheli’s compositions so important to the graded concert band
repertoire is how accessible they are to players of all standards and to the audience
themselves as listeners, through his successful storytelling in his music.
119
Ibid., p. 122-3.

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Chapter 3 - Vesuvius
After studying Ticheli’s effective way of writing programme music for wind band with
Symphony No. 2, what can be gathered from all of his works is that there is a story, narrative
or a theme behind each musical effort he writes. From looking at Symphony No. 2 and
seeing the composition’s very own astronomical themed storyline, it would be expected that
this next work would also contain a fascinating plot. The fiery, intense composition of
Vesuvius requires a great effort of musical technique and capability, therefore making an
outstanding performance of this work to be quite a tricky one to master completely. Ticheli,
as indeed he does in all of his pieces, provides detailed program and rehearsal notes,
although the conductor and the musicians need to look beyond the comments from the
composer and bring an intelligent yet musical flair to the piece. He expertly uses efficient
communication and lyrical writing of musical modes (altered or not), complex time signature
changes and an inspired structure to bring this composition to life. This piece is also another
work where you can see Ticheli’s high standard of conducting and the vast amount of energy
he provides for this composition to be able to work.120
Narrative Behind Composition
The volcano in question is of course known by many people in history as the very one that
devastated the Roman city of Pompeii and its surrounding settlements in the year 79 A.D,
horrifically visualising a natural force of great power and destruction considering the many
lives that were lost by this hidden villain. For residents at the time of the eruption, the great
energy and fear that they must have been experienced, people are unsure of what they must
have felt at that current moment before their deaths.
In 1999, Ticheli published his Grade 4 concert band composition Vesuvius after having the
idea of a ‘wild and passionate dance such as might have been performed at an ancient
Roman Bacchanalia.’121
The Bacchanalia is known as a Roman festival, held in honour of
the god of Bacchus or Dionysus as he was known in Greece, that was held mainly around
the south of Italy. As the God of Bacchus was the god of the vine or wine, these festivals
were often known as an occasion where residents were often under the influence of alcohol.
These festivals were therefore very outrageous and often extremely bright, interesting
affairs. The composition has elements of the Medieval Requiem Mass, mainly from Dies
Irae, which was used in Roman worship from the late 13th
century, which will be found later
120
Frank Ticheli, Vesuvius [YouTube], https://www.youtube.com/watch?v=UKy3onajSDY (Authored
2013, Accessed 4th February 2016).
121
Frank Ticheli, Vesuvius for Concert Band (New York, Manhattan Beach Music, 1999), Program
Notes.

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on in this chapter. Ticheli had it in mind that his musical work ‘could represent a dance from
the final days of the doomed city of Pompeii’, writing what he could have depicted being
seen as a Bacchanalia in the year 79 AD.122
Soon after having this vision, Ticheli decided to
write something more volatile and fierce but that it still contained the elements of a dance
throughout.
Form
This work follows the Rondo form, relating to the last movement of a long orchestral work to
create a big climax, refer to Appendix 7 on the rondo form of Vesuvius.123
John Darling wrote
in his dissertation on various Frank Ticheli works that as there were no known musical forms
that were associated with the Bacchanalia, the rondo form was then seen as the more
identifiable structure and it gave Ticheli the needed availability to make sure his musical
themes had the most valuable impact.124
Although most works will follow either the ternary A
B A form or the five part A B A B A or A B A C A rondo form, Ticheli writes his form as A B
A’ C A’’, meaning that the A section does not follow the exact same pattern in this work.
Each time the A section appears later on in the composition, it shows a contrasting musical
velocity, similar to what would be described as having different chapters of a book. Ticheli
said this himself about the C section of the work:
often the role of the C-sections in rondo form resembles the development in sonata
form. That is the case in this work. It is the C section in which, I keep modulating, and
I superimpose material from all over the work.125
Main Themes
In Vesuvius, four main musical themes can be identified, which Ticheli himself discusses in
detail in his program notes.126
The first theme is found in the alto saxophone solo which
introduces the first use of the D Aeolian mode and also how the 9/8 bars are therefore
counted throughout the work (2+3+2+2).127
122
Ticheli, Vesuvius for Concert Band, Program Notes.
123
Appendix 7, p. 64.
124
John A. Darling, A study of the Wind-Band Music of Frank Ticheli with an analysis of Fortress,
Postcard, and Vesuvius (Doctor of Musical Arts Dissertation, Ohio State University, 2001), p. 92.
125
Ibid., p. 93.
126
Ticheli, Vesuvius for Concert Band, Program Notes.
127
Track 19, p. 68, Frank Ticheli: Vesuvius, North Texas Wind Symphony, Eugene Migliaro Corporon,
(Recorded 2006, GIA Publications, Inc., Released 2006).

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Example 36: Theme 1 by Alto Saxophone from bar 47.
128
The trumpets and horns start off with Theme 2 in bar 83, which Ticheli describes as a ‘more
aggressive and rhythmically active’ subject. However, they both ‘share the same primary
pitches and melodic contours.’129
The rest of the concert band subsequently follows in the
3/4 bar with accented fortissimo chords, creating a strong sound that creates a large impact,
almost like an almighty crash. 130
Example 37: Theme 2 by Trumpet from bar 83.
131
Theme 3 is originally the oboe’s solo starting on bar 146, where the concert band take a
more alluring and relaxed approach in this new B section of Ticheli’s work. The rubato and
legato phrasing helps the modal movement throughout, moving from the A Phrygian, A
Aeolian to A Dorian.132
Refer to Appendix 8 on Modes.133
128
Ticheli, Vesuvius for Concert Band, p. 8.
129
130
Track 20, p. 68, Ticheli: Vesuvius, North Texas Wind Symphony, Corporon.
131
132
133
Appendix 8, p. 65.

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Example 38: Theme 3 by Oboe from bar 146.
134
The changes sound almost choral, especially when the brass come in with a beautiful warm
mezzo forte sounding chord in bar 188.135
Theme 4 continually progresses through the C section of Vesuvius, principally from when it
first begins as a French Horn call in bar 280.136
Example 39: Theme 4 by French Horn from bar 280.
137
Although this final theme keeps the phrasing, quaver rhythm and structure, the only change
is the theme’s own constant movement within the stave, for example the trumpets follow with
the written motif as a question in bar 287, playing the theme up a perfect fourth from the
horns’ E in standard pitch, before the trombones repeat the same theme as a question a bar
later.
134
135
136
137

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Throughout this work, Ticheli seldom advances the rhythmical and interval movements of
each theme, the only exception would be theme 3 as it is originally a progression from the
oboe solo. Harmonising what John Darling also discussed with his own thematic analysis of
Vesuvius, he argues that most listeners and musicians would usually expect the constant
repetition of themes to be somewhat irritating and not interesting to the listener.138
However,
Ticheli uses the repetition of each theme to their advantage in terms of structure and musical
content, whether it would be tonal or contrapuntal. This is what not only makes Frank
Ticheli’s music colourful and effective in terms of the musical narrative but it also makes it
interesting for all of the musicians in the concert band to play the piece as an ensemble.
Instrumentation
Refer to Appendix 6 on the instrumentation of Vesuvius.139
Although the layout of this work
follows the traditional concert band layout, the way each instrument is used in this work is
quite inspiring. Ticheli also creates several textual sounds and thought-provoking techniques
in this work that makes it stand out. The use of the many sforzandos are crucial to the
overall dynamic of the entire piece as the fortissimo sforzando quaver note in the first bar
sets the pace for the exciting music the audience are about to hear. The many semiquavers
used from bar 236 are seen throughout to create a rushed and panic emotion. 140
This
following example shows how all of the woodwind play a semiquaver scale in bar 240 before
the brass play an excerpt of Theme 1.
138
Darling, A study of the Wind-Band Music of Frank Ticheli with an analysis of Fortress, Postcard,
and Vesuvius, p. 97.
139
Appendix 6, p. 63.
140

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Example 40: Semiquavers by Woodwinds and Saxophones from bar 238.
141
After the first alto saxophones play the first theme, the members of the orchestra soon follow
with a syncopated whisper on bar 59, with a piano to fortissimo crescendo, followed by a
diminuendo to add to the overall enigmatic tension of the piece. 142
As Ticheli says himself in
his Rehearsal Notes;
The vocalizations of “ch” are meant to enhance the sense of ritual and mystery that is
so important to the work.143
141
142
143
Ticheli, Vesuvius for Concert Band, Rehearsal Notes.

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Example 41: Whispers from bar 59.
144
The whisper is repeated again after seven bars of 8/8 before both alto saxophone parts
follow with the same theme once more. Darling mentioned that it was the first time that
Ticheli had used this tool in his compositional writing. He also said that Ticheli taught them
another song in order to help bring out the accent of the second beat and to guide them
through the 9/8 time signature.145
Example 42: Whispers from bar 70.
146
Both the oboe and the French horn are given the part of the Dies Irae music in-between bars
114 and 118.147
144
Ibid., pp. 9-10
145
Darling, A study of the Wind-Band Music of Frank Ticheli with an analysis of Fortress, Postcard,
and Vesuvius, p. 111 & 122.
146
147

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Example 43: Dies Irae Theme by Oboe from bar 70.
148
This motif was given to both instruments by Ticheli to identify the scale of devastation and
mortality caused by the mighty volcano the composition is based on.149
This is an incredibly
important historical reference that adds to the narrative of the composition. This is soon
followed by an unfamiliar yet fascinating technique, which is written for the timpani;
The timpanist places large cymbal upside down on timpani head, and plays cymbal
roll while manipulating foot pedal as notated. The effect resembles that of a wind
machine.150
Section B of the work is where you get the calm yet pure emotion of the destruction that the
volcano has caused. Ticheli mentions in his rehearsal notes that the entire section is
‘establishing a quiet oasis’; with bowed vibraphone passages and that the brass only does a
crescendo to mezzo forte in bar 188 before the diminuendo back to piano.151
Although this effect is important, Ticheli also adds that it is imperative that the influence is as
elusive as possible.152
From this thorough exploration of Vesuvius and critiquing John Darling’s own dissertation on
the composition, what can be seen is that Frank Ticheli has used timbre, structure and the
more complex side of musical theory to create an exciting composition to match the history
based on the devastation and horror of the volcano itself. The different use of
instrumentation and player input in this work, in terms of speech and musical concrete is
what makes Ticheli prominent as a musical composer. Vesuvius like Symphony No. 2 is
more musical proof that Ticheli writes music not just for a wide audience to enjoy listening to
but music that the players of the group would love to play also, despite this musical work
being much smaller in length. The use of a more factual narrative in this musical standard is
148
149
Ibid., Rehearsal Notes.
150
Ibid., p. 18.
151
152

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still proof that Ticheli is more than capable to put his own musical writing to a great
melodically and rhythmically constructed advantage.

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Chapter 4 – Blue Shades
The University of Aberdeen Wind Band and Concert Band have both played the previous
two works by Frank Ticheli that have been discussed in this dissertation. The two previous
studies have used all aspects of a performer, musician and student’s technical eye into the
form, instrumentation and account behind each work. Blue Shades however is a new
discovery, from a growing appreciation for jazz and blues music and a fond admiration for
Frank Ticheli as a composer. It also portrays the narrative of a music work in a different way
to both Symphony No. 2 and Vesuvius, relating to certain aspects of Ticheli’s own personal
life and inspirations. His usual program and rehearsal notes are therefore more beneficial
than ever to understand his way of thinking and writing behind his musical work, mainly with
the creative ideas he shares between each instrument. This time, Ticheli uses recognisable
musical elements of blues and jazz, intervals, solos and contrasting passages to create a
completely different sounding musical work that still combines his compositional style and
techniques.
Narrative behind composition
The background behind this following composition from Ticheli is an interesting one. In 1992,
Ticheli wrote a concerto for the Jim Cullum Jazz Band and the San Antonio Symphony,
which was written as a festivity dedicated to the music he grew up listening to throughout his
childhood. Furthermore, he mentions how much he appreciates this composition, which is
also evident through his conducting of the piece which was explored in the first chapter of
this study.153
After he completed this first piece, Playing With Fire, he felt as if he could
combine more of his compositional writing for wind band with his love for traditional jazz
music from the late 50’s to the early 60’s. Blue Shades was then written as a tribute to Big
Band, jazz and swing music and the work employed solos that were reminiscent of Benny
Goodman.154
Ticheli himself often talked about the difficulty he had with this composition in
particular;
153
Paul Smith, Band Composer Series: Frank Ticheli, JW Pepper Blog [Website],
http://blogs.jwpepper.com/?p=3281 (Authored 2012, Accessed 4th February 2016), Ticheli,
https://www.youtube.com/watch?v=-OblozP6Z2Y.
154

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It took months of sketching, writing, destroying, and re-writing before it finally
revealed itself to be, and then the final decisions seemed so obvious. It was like
making a long tortuous journey to find what was right under my nose.155
Despite the long amount of time and dedication Ticheli spent on Blue Shades, the musical
work began to grow. It was soon appointed to over thirty concert bands across America,
whether they were university, community or advanced high school wind ensembles. The list
of the bands that were added to the program notes of the Blue Shades score is also
included, refer to Appendix 10.156
Form
Although the work does have the themes of blues and jazz, creating a sound familiar to a big
band work, the form does not follow the 12 bar blues structure that a lot of musicians and
listeners will be familiar with.
This means that the piece is in fact a through composed composition that has been written
for concert band, with their own stanza separated into different sections, six in total. Each
section has its own theme, blues or jazz motifs and in turn explores certain musical notations
or techniques that Ticheli wants to highlight.
Example 44: Blue Shades Form Sections from Rehearsal Notes.
157
With the title of the composition being Blue Shades, Ticheli also names each theme with
each contrasting shade of colour, for example Section IV would be seen as a dark blue, also
relating to the slow, dramatic, provoking dynamic and emotion that the section creates.158
155
Frank Ticheli, ‘Frank Ticheli’, in Mark Camphouse (ed.), Composers on Composing for Band
(Chicago, 2002), pp. 349-84, at p. 351.
156
Appendix 10, p. 67.
157
Ticheli, Blue Shades for Concert Band, Rehearsal Notes.

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The quavers are hardly swung throughout the work, the only recorded times are from bars
14 to 33 where Ticheli actually notates it for the players acknowledgement.159
Example 45: Swing Section by upper woodwinds from bar 14.
160
Main Themes
The most important motif in the entire composition according to Ticheli is the use of the
minor third. The minor third and the dominant seventh are of course recognised as being the
main notes of the blues scale, the flattened third and sharpened seventh from a traditional
major scale creates the synthetic blues scale that all musicians will recognise.
This minor third interval is essentially the foundation of the work, from the repeated use in
the first few hundred bars to the noteworthy inputs in terms of solos, and it is the most vital
notation in the entire piece. This example he provides in his rehearsal notes is a significant
bass motif taken from bar 46, which is played here by the tuba.161
Example 46: Minor Third example by tuba from bar 46.
162
158
Ibid., pp. 41-50.
159
Track 26, p. 68, Frank Ticheli: Blue Shades, North Texas Wind Symphony, Eugene Migliaro
Corporon, (Recorded 2006, GIA Publications, Inc., Released 2006).
160
Ticheli, Blue Shades for Concert Band, p. 3.
161
Ticheli, Blue Shades for Concert Band, Rehearsal Notes, Track 27, p. 68, Ticheli: Blue Shades,
North Texas Wind Symphony, Corporon.
162
Ticheli, Blue Shades for Concert Band, p. 8

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The second section of the work is what Ticheli describes as the ‘Exposition of main themes’,
which is from bar 69 to 172.163
From here, they are the repeated parts in terms of the
instrumentation, where it is the quaver chromatic run to a sustained note lasting two 3/4
bars. In this case, alto saxophone 1, which is then accompanied with quaver minor thirds in
the upper woodwinds, is playing this interval.164
Another crucial use of the minor third is when the bass theme from bar 46 has now
progressed into a walking bass, played by the marimba in bar 321. Here, the minor third
occurs every two quavers, for example the first note is a G and the minor third from that note
is a B flat. Achieving a balance with the sticks on the marimba is a hard task for the player as
Ticheli suggests.165
Example 47: Minor Third Walking Bass by Marimba from bar 321.
166
Ticheli also highlights the use of the minor third in this example, over the examples marked
with X.167
Example 48: Minor Third Example from Rehearsal Notes.
168
163
164
Ibid., p. 12.
165
166
Ibid., p. 51.
167
Track 28, p. 68, Ticheli: Blue Shades, North Texas Wind Symphony, Corporon.
168

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Here the flute is playing the minor third between each quaver, on notes D and F, the alto
saxophone and the horn have a minor third in bar 74 and the bassoon has a minor third the
second beat of bar 73 and the first beat of 74. Here Ticheli tells us about the ‘all-important
polymodal harmonic structure’ between the clarinet and the bassoon, where the clarinet
plays in G major and the bassoon plays in G minor. This section also contains what can be
described as a brief use of a hemiola, where the bassoon plays in beats of two whereas all
the other instruments play in the 3/4 time signatures.169
Dominant sevenths also make their appearance throughout the work, to keep the blues
characteristic throughout.170
One example is from bar 34 where the flute plays the minor
third being the F and the A flat, what Ticheli has also written is the dominant seventh of B flat
major, which is the A flat note (or G sharp).
Example 49: Dominant Sevenths by Flute 1 from bar 34.
171
Instrumentation
Refer to Appendix 9 on the instrumentation of Blue Shades.172
Alongside its blues and jazz
influences, the work also incorporates suggested influences from 20th
Century composer,
Igor Stravinsky. 173
This is seen mainly in the brass chords of the first section, inbetween
bars 3 and 14, this example follows the brass section from bar 7.
169
170
Track 29, p. 68, Ticheli: Blue Shades, North Texas Wind Symphony, Corporon
171
172
Appendix 9, p. 66.
173
Chad Nicholson, Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V, VI
(Galesville, 2009), p. 585.

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Example 50: Stravinsky Themed Brass Chords from bar 7.
174
Ticheli has often shared his love for a small selection of instruments that are part of the
woodwind family, usually those that may have been rare or are often lacking in ensembles;
one in particular is the bass clarinet.
I just think the bass clarinet is one of the greatest instruments ever invented. I wish
everyone shared that passion, because I would use even more of it. I feel restrained
writing for it sometimes.175
In this composition however, the bass clarinet is given an important solo at the start of the
‘Dark’ movement of 284 and Ticheli therefore explores the whole range of the instrument
itself.176
Ticheli writes on the programme note that the solos between bars 284-5 and 288-9
are not to be conducted, following a familiar aspect to improvisation. Here he writes that the
solo is to be ‘rubato’ and ‘bluesy’.
174
Ticheli, Blue Shades for Concert Band, Rehearsal Notes & p. 2, Track 30, p. 68, Ticheli: Blue
Shades, North Texas Wind Symphony, Corporon.
175
176

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Example 51: First Bass Clarinet Solo from bar 284.
177
The second bass clarinet solo between bars 288-9 covers two octaves of its own range,
where you can hear it play the higher notes of the instrument. This tends to be a rare thing to
hear from the lower woodwind instrument that is used to playing bass themes, consequently
this requires an advanced technique from the bass clarinet player.
Example 52: Second Bass Clarinet Solo from bar 288.
178
Although the form of the piece does not follow a blues style, the musical elements of blues
and jazz music are definitely found throughout, whether they are found as either harmonies
or rhythms. Ticheli mentions that these small jazz features and approaches, such as the
accented syncopated notes should be played but there should be no additional extras, such
as solo improvisation and grace notes.179
Another important solo in this composition is played by the 1st
solo clarinet part in Section V,
in-between bars 322 and 375.180
The solo is written as an accolade to the great Benny
Goodman, who of course is known as an iconic clarinet player from the 1920’s to the mid
1930’s, delving into both classical and jazz, mainly swing. His most popular contribution was
as the solo clarinet player of Gershwin’s Rhapsody in Blue in 1924, where the glissando
played was not for the faint hearted. 181
He was seen as a great inspiration in 20th
century
177
178
Ibid., p. 44.
179
180
181
Pamela Weston, ‘Players and Composers’, in Colin Lawson (ed.), The Cambridge Companion to
the Clarinet (Cambridge, 1995), pp. 92-106, at p. 102.

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classical and jazz music, where was able to play solos often at the higher octave range of
the clarinet.182
The solo written out for the brave soul who wants to play it has been told by Ticheli that it
must be played with unabashed ‘“gutsiness” and bravado’.183
Example 53: Clarinet Solo from bar 322.
184
When this solo is performed, the audience could easily guess that the player improvises this;
which was expected from several musicians who focused on jazz, swing or big band at the
time. However, from the examples both above and below, it shows how Ticheli carefully
writes the solo out in such a creative and refined detail. Here he writes that the solo has to
be played with ‘great energy’ and that the ‘player may stand and face audience’, portraying
the look and feel of improvisation.185
Example 54: Clarinet Solo from bar 322.
186
182
George Gershwin, Rhapsody in Blue [YouTube], https://www.youtube.com/watch?v=5ip4kK70kZA
(Authored 2010, Accessed 4th February 2016).
183
184
Ibid., p. 50.
185
186
Ibid., p. 50.

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In the final section from bar 402, the brass section as a whole play one crotchet and a half
beat notes with the additional acciaccatura, creating loud and forceful dissonant chords.187
With this technique, Ticheli wanted to create the element of the train whistle sound, which
was a popular motif mainly used in 1940’s Big Band music, therefore highlighting his writing
of the jazz music tribute narrative.188
Example 55: Brass Wail Chords from bar 402.
189
The ending of Blue Shades contains a splash cymbal after a semiquaver run and a held
pedal note from the piccolo and flute.190
This abrupt yet amusing ending to the piece was
written by Chad Nicholson in his book as ‘energetic and memorable’, that also ‘works well to
close a concert program’.191
187
188
189
190
191
Nicholson, Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V, VI, p. 585.

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In brief summary, this study of Blue Shades has shown how Ticheli can also write for a more
personal, light-hearted narrative dedicated to a certain musical genre from his musical
influences, being jazz and swing. The addition of the bass clarinet solo and the stimuli of
Stravinsky and Benny Goodman also contribute to Ticheli’s musical impacts in terms of
contributing to his compositional literature. As was found with this composition in addition to
the previous two, Ticheli loves to explore the contrasting range of certain instruments in the
ensemble, so in Blue Shades, it is the bass clarinet and clarinet solos in particular that stand
out and help in terms of this composition’s storyline.

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Conclusion
So after the culmination of analysis behind this study of musical oeuvres what can be
gathered, from these three complete concert band works by Frank Ticheli, is that each work
has its own distinct characteristics.
Blue Shades is definitely the work that is used more for light entertainment and it is the most
comical and optimistic number of the three.
In contrast, Vesuvius has a lot of drive, energy and vibrancy for a smaller composition but it
is the historical narrative that makes it a more serious and intense work to listen and play.
As for Symphony No. 2, it takes the instrumentation and musical structure of the concert
band to the complete extreme in this immense 20-minute work of programme music.
However, what connects the three together is Ticheli’s effective way of portraying a chosen
narrative.
Vesuvius had a strict character, a physical being in mind. Symphony No. 2 had a visual
hindsight with Ticheli’s vision of bright colours in the astronomical sense. Whereas Blue
Shades had a narrative of a personal kind, with the composer’s inspiration to dedicate his
work to a particular musical genre.
Frank Ticheli has the ability to create memorable musical themes for each of his works and
to use them to their best advantage. He uses them to create a musical story for all of his
compositions so that his works can be seen as having the complete package. Of course it is
unquestionable that the use of musical development, structural layers and the addition of
short motifs may be common to most compositions. However, it is the way Ticheli includes a
lot of complementary musical ideas and structural forms. It is also the effective way the lower
parts from both the woodwind and brass sections are used to play the melody or key theme
in his compositions that make him an eye-catching composer in the concert band world.
What also makes Ticheli a respected, highly sought after composer is the way his energy
and passion for composing and conducting. Therefore this influences his works to make
them memorable yet accessible to the audience at concerts and fellow musicians of the
ensemble.
In conclusion, this dissertation has therefore proved that Frank Ticheli does drive the
limitations that had previously been opposed for concert band music. Ticheli does this by
creating many musical layers, whether it is with the canon from Dreams Under A New Moon
or it is the structural organisation of minor thirds and dominant sevenths in Blue Shades.
Vesuvius, especially, contains a strong musical structure throughout with the recurrent
themes. Ticheli’s compositions also show more of a use for the fewer woodwind and brass
instruments in the ensemble. Finally, Ticheli has shown his expertise for creating memorable
chronicles that really put him in the spotlight for all woodwind groups across the world.

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Appendices
Appendix 1192
192
Bandworld.org, https://www.bandworld.org/pdfs/GradingChart.pdf.

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Appendix 2193
193
FJH Music Company,
http://faculty.gvsu.edu/duitmanh/home/461lectures_files/Band%20Music%20Grading%20Guidelines.p
df.

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Appendix 3194
194
Manhattan Beach Music, Manhattan Beach Music [Website],
http://www.manhattanbeachmusic.com/virtualscores.html (Authored 1981, Accessed 4th February
2016).

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Appendix 4195
195
Ticheli, Symphony No. 2 for Concert Band, Instrumentation.

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Appendix 5 196
196
Ticheli, Symphony No. 2 for Concert Band, Dedication.

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Appendix 6 197
197
Ticheli, Vesuvius for Concert Band, Instrumentation.

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Appendix 7 198
198
Ticheli, Vesuvius for Concert Band, Rondo Form.

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Appendix 9199
199
Ticheli, Blue Shades for Concert Band, Instrumentation.

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Appendix 10 200
200
Ticheli, Blue Shades for Concert Band, Consortium Participants.

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Discography Track List
Chapter 2: Symphony No. 2
2.1 – Shooting Stars 201
Track 1 – Themes 1, 2 & 3
Track 2 – Theme B
Track 3 – ‘A Little Island’
Track 4 – Theme C
Track 5 – Theme D
2.2 – Dreams Under A New Moon 202
Track 6 – ‘Chant’ Theme
Track 7 – ‘Call Motive’
Track 8 – Alto Saxophone Solo
Track 9 – Brass Ascending Subject
Track 10 – Demisemiquavers
Track 11 – Canon
2.3 – Apollo Unleashed 203
Track 12 – Theme 1
Track 13 – Bach Chorale First & Middle Section
Track 14 – Bach Final Section
Track 15 – 1st
& 2nd
Movement Segments
Track 16 – Brass Spiky Chords
Track 17 – Interruption
Track 18 – Timpani Solo & Coda
Chapter 3: Vesuvius 204
Track 21 – Theme 3 (B Section)
Track 23 – Semiquavers
Track 24 – Whispers
Track 25 – Dies Irae & Timpani
201
Ticheli: Symphony No. 2, Shooting Stars, North Texas Wind Symphony, Corporon.
202
Ticheli: Symphony No. 2, Dreams Under a New Moon, North Texas Wind Symphony, Corporon.
203
Ticheli: Symphony No. 2, Apollo Unleashed, North Texas Wind Symphony, Corporon.
204
Ticheli: Vesuvius, North Texas Wind Symphony, Corporon.

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Chapter 4: Blue Shades 205
Track 26 – Swing Section
Track 27 – Tuba
Track 28 – Minor 3rd
(Alto Saxophone at Bar 74)
Track 29 – Dominant 7ths
Track 30 – Brass Chords Stravinsky
Track 31 – Bass Clarinet Solo
Track 32 – Clarinet Solo
Track 33 – Train Whistles
Track 34 – Cymbal Smash at Coda
205
Ticheli: Blue Shades, North Texas Wind Symphony, Corporon.

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Bibliography
Articles, Chapters, Books, Dictionaries & Dissertations
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Ticheli, Frank: Symphony No. 2, Shooting Stars, Dreams Under a New Moon, Apollo
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Banddirector.com. An Interview With Frank Ticheli, banddirector.com [Website],
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2008, Accessed 4th February 2016).
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MU4049 Dissertation 51229076 (FINAL)

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