CMP Teaching Plan

NAME
Jayden Gustafson
Rest
By Frank Ticheli
Manhattan Beach Music – Grade 4/8 minutes

Broad Description
 Concert band adaption of Ticheli’s prior choral work, There Will Be Rest
 Based off of Sara Teasdale’s poem titled “There Will Be Rest”
 Both the choral and band versions of this piece were commissioned in memory of a loved one
 Great for teaching dissonance vs. consonance, blending, form, intonation, articulations, and expanding of dynamic range and
contrast.
 Allows students to learn more difficult social emotional learning concepts through tragic events and how we can cope with
them

Composer Biography
Frank Ticheli (b.1958) is a profound American composer of orchestral, choral, chamber, and
concert band works. Numerous of his works are well-known and notable among the musical
community, with some of them being staples in concert band repertoire. Ticheli currently
resides in Los Angeles, California and is the Professor of Composition at the University of
Southern California. Ticheli was also the Pacific Symphony’s composer-in-residence from
1991-1998, composing dozens of works for the orchestra. Frank Ticheli received his master’s
and doctoral degrees in composition from the University of Michigan. He studied with
William Albright, Leslie Bassett, George Wilson, and William Bolcom. Additionally, Ticheli
worked as the Assistant Professor of Music at Trinity University where he served on the board
of directors of the Texas Composers Forum and was a member of the advisory committee for
the San Antonio Symphony’s “Music of the Americas” project.

Ticheli has also been the recipient of dozens of awards from the Arts and Letters Award, Goddard Lieberson Fellowship, Charles Ives
Scholarship, the National Band Association/Revelli Memorial Prize, the A. Austin Harding Award, the Distinguished Service to
Music Medal, First Prize in Texas Sesquicentennial Orchestral Composition Competition, the Britten-on-the-Bay Choral Composition
Contest, to the Virginia CBNA Symposium for New Band Music. As such an influential and involved composer in the music world
today, Ticheli has created music that students not only love to play but love to learn and listen to as well.
Background Information
Rest by Frank Ticheli is a concert band adaption of Ticheli’s previous choral work titled There Will Be Rest. Both are based off Sara
Teasdale’s poem “There Will Be Rest, and both preserve the fragile beauty and quiet dignity that the poem emulates within every
note. It is also worth noting that both pieces were commissioned in memory of passed loved ones. The works help individuals to
reflect, make tribute, and remember those who are gone while finding a sense of peace, and rest through the music. It helps those grow
and move on while not forgetting, and Ticheli created something beautiful through Teasdale’s poem.

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.
Sara Teasdale (1884-1933)

In his program notes for Rest, Frank Ticheli wrote “I preserved almost everything from the original (There Will Be Rest choral
version): harmony, dynamics, even the original registration. I also endeavored to preserve carefully the fragile beauty and quiet
dignity suggested by Sara Teasdale’s words. However, with the removal of the text, I felt free to enhance certain aspects of the music,
most strikingly with the addition of a sustained climax on the main theme. The extended climax allows the band version to transcend
the expressive boundaries of a straight note-for-note setting of the original. Thus, both versions are intimately tied and yet independent
of one another, each possessing its own strength and unique qualities.” This piece is drenched in raw emotion and can be interpreted in
any way that the listener chooses to. Ticheli took the gentle poem of Teasdale and translated it into music, allowing all that listen to go
through the emotions and remember that there can be rest, and we do not have to forget—we grow.

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Elements of Music
Measur Meter and Form Melody Rhythm Harmony Timbre Texture Expression
e Tempo
Diatonic Whole, Eb Major, Timbre is reedy, Starts off thin The piece
melody is dotted half, harmony is dark, warm, and but begins to begins very soft
introduced in half, quarter, sustained on low with the build with each with a
the Clarinet and eighth a single note brass and passing pianissimo
and French notes. There on either woodwinds measure with dynamic and
Horn voices. are quarter notes playing lower the layering of very legato
frequently or tied whole notes. Very soft melody and articulations.
4/4, Tempo
ties from notes. In m.6, and pure to harmony The intent is to
1-6 Rubato A
whole notes harmony express the among the rest be as gentle and
quarter=50
to eighth adopts the opening line of of the winds. soft as possible,
notes to melody the poem. No percussion. with the
create a rhythm expression
syncopated unifying the following suit.
feel into the ensemble as
next one.
measure.
7-16 4/4, Più A Melody is Whole, Eb Major, Still warm, dark, Texture is Dynamics swell
mosso passed to the dotted half, harmony still and reedy with gradually to a
quarter=66 tenor sax, half, dotted maintains its woodwinds, getting thicker mezzopiano,
French horn, quarter, held and brass, and with more and and back down
and clarinets. quarter, and sustained addition of sting more to piano. It then
As the piece eighth notes. notes, but bass. Still soft, instruments quicky swells to
progresses, There are them and still pure. layering in. a mezzoforte
instruments frequent ties continues to Starts to String bass and back down
layer with the from whole join the brighten up a adds another to piano in a
melody, notes to half, melodies little bit in m. 16 deeper voice to matter of a
adding more quarter, and rhythm with for a split the texture, but measure. After
and more eighth notes. the rest of the second, and then still is fairly the swells the

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 voices to it. By ensemble in returns to its thin among the piece sticks to
m.16, m.10-11 to previous timbre woodwind and its piano
euphoniums, f create by m.17. brass sections. dynamic,
horn, alto sax, moments of No percussion. staying soft and
and clarinet uniformity quiet.
have the among the Articulations
melody. melody and are still legato,
Bassoon plays harmony being as soft
the lines. and gentle as
countermelod (Foreshadows possible.
y by inverting the end of the
the first note piece with
of the melody. theme of
togetherness)
Melody drops Whole, Eb Major, Timbre is still Texture is very Dynamics are
to the clarinet dotted half, polyphonic low, reedy and bare with a still soft with a
voices only. half, quarter harmony warm. clear division pianissimo
The rest of the note triplets, continues of woodwind marking. There
ensemble quarter, and with and brass is some swelling
plays the eighth notes. sustained voices. There is in the clarinet
harmony. Alto Frequently notes in the some layering melody line on
4/4, poco
17-22 A sax and ties between lower voices, with the the triplets. In
meno moso
French horn whole notes, and other harmony, m.22 ensemble
get the half notes, voices however, still slowly swells to
melody in and eighth sustaining bare compared a piano
m.19 and notes. one note but to previous dynamic.
carry it until on the measures. Articulation is
m.23. melody’s still legato and
rhythms. very gentle.
23-31 4/4, A’ Melody Whole, Eb Major, Timbre opens Texture is Dynamics begin
quarter=66 continues to dotted half, polyphonic and brightens up becoming to grow from p
move through half, dotted harmony with the thicker and to mp, mp to mf,
the quarter, continues entrance of the denser with and mf to p. The

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 instruments quarter, with muted trumpet. the layering of growth in the
with it ending eighth, and sustained Still feels heavy,
voices and ensemble
up in the flute, sixteenth notes in the but brightness isalmost the signals a change
clarinet in notes. There lower voices, shining through. entire to audiences
m.23-28, and are frequent and other ensemble and makes the
then passing ties from voices playing in notes more
it to the whole notes sustaining m.23-28. impactful.
clarinet, to half, one note but Texture Articulations
bassoon, alto quarter, and on the becomes remain legato,
sax, F horn, eighth notes. melody’s thinner in soft, and gentle.
and rhythms. m.27-31 to
euphonium in introduce the
m.30-31. revised melody
in m.32.
32-48 4/4, poco A’ In m.32-36 Whole, In m.32-39, Timbre is Texture Dynamic
meno melody is in dotted half, the piece extremely reedy becomes very contrast is very
moso, the clarinet half, dotted shifts to Gb and somewhat bare with just low with a base
quarter=66 and bassoon quarter, Major, and buzzy until m.40 the woodwinds dynamic level of
lines with quarter note the harmony when the brass playing from pianissimo
triplet motifs. triplets, and sustains long join in. M.40 m.32-40. crescendoing to
From m.36- eighth notes. tones on a I opens up with a Texture slowly piano, and back
40, the There are chord. In bright and warm begins down again to
melody frequent ties m.40-48, the sound. Feels thickening pianissimo.
changes and from whole piece returns hopeful. with the Everything is
passes from notes to half, to Eb Major, layering of very quiet and
clarinet to quarter, and and the brass in m.40 restrained.
bassoon, alto eighth notes. harmony onward. Notes are still
sax, and bari inverts the played legato,
sax. M.40-48 melody, or and there are
brings the sustains a slurred notes to
melody back singular note creates a
to clarinet, mimicking connected and
alto sax, tenor the melodic flowing sound.

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 sax, and rhythmic
bassoon lines. pattern.
The melody Whole, half, This section Timbre is very Texture Dynamics begin
abruptly quarter, and abruptly dark, heavy, and becomes much to build louder
changes in eight notes. changes to Bb dense reaching more and louder,
this section, There are lydian and for complicated going from p to
using Bb frequent ties while the lightness/bright than the rest of mp, mp to mf,
lydian eighth from whole melody ness. the piece. and then mf to a
note motifs notes to converses Saxes and dramatic fp for
and passing whole, half, among one brass start the piece thus
them around and quarter another, the layering far.
different notes. harmony polyphonically Articulations
instruments, settles into once after are still legato,
and layering long tones, another, and there are
4/4,
49-58 B them over one simply building some slurs,
quarter=60
another to supporting intensity the however, the
create a the melody. end of m.55. expression is
musical The texture beginning to
conversation. then stabilizes feel more
Melody then and becomes intense,
slows down more focused, agitated, and
and settles becoming panicked.
into the alto more
sax, tenor sax, homophonic
bari sax, F contrasting the
horn, and previous
euphonium. measures.
58-64 4/4, B The melody is Half, dotted The key Timbre is The texture The dynamics
quarter=60 somewhat put quarter, center finally beginning to becomes very are consistently
on pause quarter, and returns to Eb lighten up. It is homophonic building with a
while the eight notes. Major. The full and warm, a among the crescendo from
entire There are harmony is beautiful blend ensemble. The pianissimo to
ensemble frequent ties intertwined of reed and woodwinds forte which is

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 layers with from half with the brass sounds, introduce the the loudest
this notes to homophonic and is rhythmic dynamic of the
homophonic eighth notes. rhythmic brightening up, motif, and then piece thus far.
rhythmic motif, trying to get the brass layer Despite the
motif. following the over the dark in to create a building of
However, in rhythmic and heavy full, uniform tension,
m.63, the lines and in timbre from sound among articulations
oboe, tenor m.64 settles earlier. It feels as the ensemble. are still legato
sax, trumpet, on a though we are and gentle.
trombone, sustained trying to move
and note. on.
euphonium
briefly bring
out the
melody for
one bar.
65-74 4/4, Più B In m.65-72, Whole, Eb Major, Timbre returns The ensemble The piece
mosso the melody dotted half, m.65-71 had to a semi-dark breaks from continues
quarter=80 begins in the half, dotted the melodic and heavy feel the previous growing in
clarinet and quarter, motif that but continues to homophony dynamic level at
then is passed quarter, passes reach for a light texture and this point
to different eighth, and around the and bright returns to a starting from a
voices from sixteenth ensemble so sound in certain polyphonic mp and
woodwinds to notes. There there is not instrument motif that crescendoing all
brass, making are really a set groups. Is moves among throughout the
it sound like a frequently harmony in continuing to different measures until
conversation ties between place. blend among instruments, m.73 when the
where a new half, quarter, However, in sections to repeating and piece grows to a
voice enters and eight m.72 the become one, layering more dynamic of
in every two notes. harmony solid and bright and more until fortissimo, the
beats. This enters on sound. the climax in highest
conversation quarter notes m.75. dynamic level of
builds and in almost the piece.

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 builds until every Articulations
m.75 where instrument continue to
the tension is except bass remain legato,
semi-released, clarinet, and the
and all of the bassoon, Bari dynamics are
voices sustain sax, what makes this
an Eb major trombone, section so
chord euphonium, impactful. At
together. tuba, and this point, it
string bass, feels like the
who have the climax, but hold
melody. M.73- off, there is
75 carries the more to come.
harmony in
the sustained
chord and
quarter notes,
providing
movement
into the
release in
m.75.
75-83 4/4, A” The familiar Whole, Eb Major, all The timbre At this point in This is the
quarter=80 melody dotted half, harmony is continues to the piece, this climax of the
emerges from half, dotted either on a push for that is the densest piece and is the
a triumphant quarter, sustained warm, bright, the texture is part that is
Eb major quarter, and note, inverts and open sound, and will be. most impactful.
chord in m.76 eighth notes. the melody, and finally in m. The percussion Growing from
in the flute, There are or are moving 80 the band has finally the previous
oboe, clarinet, frequently quarter notes explodes into joined, they are measures, the
alto sax, tenor ties between on a singular this new and pushing the band does its
sax, trumpet, whole, half, pitch. hopeful sound, ensemble to final push to the
and f horn. quarter, and Dissonances making it the the climax, and fff dynamic in

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 eight notes. have climax of the every m.79-80,
disappeared piece—the instrument is
making it the
at this point, moment we playing loudest point in
emphasizing have been something. The
the piece, and
its home in Eb waiting for. It is texture is full,
the most
Major. bright, and just simply
impactful.
triumphant, stunning—this
Articulations
soaring, and is what theremain the
joyful. piece has been
same, and with
leading up to.
these two forms
of expression,
we have the
heart of our
piece
representing
hopefulness and
life after
darkness and
grief.
84-93 4/4, A” The melody Whole, half, Eb Major, This section Texture starts Dynamics
quarter=80 spreads to the quarter note bass voices comes off of the out as very slowly start to
flute, oboe, triplets, hold whole climax, which is dense from the decrescendo
clarinets, alto quarter, and and half notes very bright and climax and from fff to f, and
sax, tenor sax, eighth notes. to support the open, and slowly then slowly then to p,
bari sax, There are melody and fades to sound dwindles to a unwinding from
trumpet, frequently provide a quieter and sparser group the climax and
French horn, ties between warmer more closed off. of bringing a sense
and whole, half, sound. Slowly However, the instrumentalist of peace to the
trombone, quarter, and fades with the warmth and s that soften end of this
unifying the eight notes. melody, brightness linger and finish of phrase. Accents
ensemble. In making more on, not the phrase. At are introduced
m.88, the space for disappearing the end of this for the first time
melody begins those with the with the descent phrase only in m.90-91 on

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 to fragment, fragmented of the climax. woodwinds the alto sax 2,
briefly melody. remain. tenor sax, bass
popping up in clarinet, and
other clarinet 2&3
instruments lines. All other
as the phrase articulations
fades into the remain legato,
fermata. so the accents
really
emphasize
these measures.
The final part Whole, Key change to This coda The texture in Very quiet,
of the melody dotted half, G major, changes to G this coda is almost nothing.
presents itself half, dotted sustained major and very Dynamics are
in the quarter, notes, and provides a much barebones, pp, and
clarinets, and quarter, and some sharper, going from the decrescendo
French horn, eighth notes. rhythmic brighter, more upper even more at
while the rest There are imitation all open, sweet, and woodwinds the end of the
4/4, of the already frequently on I chord reedy timbre. It having some of piece. Very
Coda
94-103 quarter=80 sparse ties to tones. Quietly is almost the texture, representative
(end)
, rit… instrumentati whole, half, and subtly completely and concluding of a chapter of
on supports it quarter, and supports the different than with the life ending, and
with quiet eighth notes. melody until the rest of the euphonium a new chapter
sustained it fades, and piece’s timbre, having the final beginning. Soft,
notes. then and this moving line in gentle, and
emphasizes G symbolizes the piece. sweet.
major on the peace, growth,
last chord. and moving on.

Element Summaries:
Form

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Rest is in rounded binary form, with a breakdown of AA’BA” +coda.

Rhythm
The rhythm combinations in Rest include an abundance of rhythms from whole notes, dotted half notes, half notes, dotted
quarter notes, quarter notes, quarter note triplets, eighth notes, to sixteenth notes. There are also frequently ties, with one of
the most common being whole, dotted half, or half notes tied to eighth notes to create a syncopation on the next beat of a new
measure. The piece is in simple quadruple, however, with the constant recurring syncopations within the rhythmic lines, it
sometimes feels like it is not. There is also an abundance of rubato throughout the piece, so there is a ton of push and pull to
essentially maximize the effect and climax of the piece. Most common rhythmic motif is (rest) 2 3 4 1.

Melody
The melody of Rest is diatonic and utilizes many leaps of fifths and sixths throughout the piece. The melody also is very syllabic
to fit the text of the poem that Ticheli’s choir composition was based off of, so it matches fairly well to the original text. It is
generally in 6-bar phrases and frequently passes from one instrument to another. The way in which the melody is presented
also changes throughout the work, from it being isolated to one instrument group, shared among a couple of different
instruments, fragments of the melody layering, to the entire ensemble playing the melody simultaneously; the way in which
Ticheli incorporated this melody is breathtaking in every way possible.

Harmony
The harmonic material in Rest is based in Eb Major, but floats between Gb major, and Bb lydian as well. The key signature in
the coda also changes to G major, creating a completely different sound and feel to close the piece with. The harmonic material
tends to outline the major chord on sustained notes or mimicking the melodic rhythmic material so that it moves the same, but
differently. There is also a frequent use of inverted melodies so that it harmonizes the melody but is not exactly the melody.
The harmonic material of Rest provides support and warm to the piece, and also creates a sense of stability for all of the
shakiness leading up to the climax.

Timbre
The timbre of Rest is very stagnant and consistent until the climax of the piece when it finally settles after building for over
eighty measures. Most of the piece is dark, reedy, warm, and low. From measures 23-79 there are moments where the sound

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tries to brighten but get bogged down very quickly. When the climax finally hits in measure 80, the band explodes into a
completely different timbre that is bright, open, high, soaring, and triumphant. As the piece ends and fades, the timbre
becomes slightly heavy again, but maintains the bright, warm, and open sound from the climax to represent healing and how
the hard things still linger, but we can continue to move on.

Texture
The texture in Rest can easily be defined as having an intricate utilization of layering to create some of the most impactful
moments within this piece. From the melody layering to the harmony layering, to all the voices layering together; there is
rarely a moment where layering is not one of the focal points of this piece. A similar theme in the texture is the back and forth
of thin and dense instrumentation. Sometimes Ticheli drops the brass when woodwinds have a line, and vice versa when brass
has important phrases. Percussion is absent from the piece until its climax where Ticheli creates the most dense and beautiful
texture of the piece. Once the climax is done, Ticheli strips the instrumentation, so it is clear to see what the most important
and impactful part of the piece is through texture alone.

Expression
The dynamic, articulation, and tempo of this piece are what creates the gentle, soft, and emotional fell of the piece in and of
itself. The dynamics throughout much of Rest are at pp or p, and slowly swell up and down later, but always returning to the
softer and quieter dynamic. Towards the climax of the piece, the dynamic consistently grows, hitting louder and louder
dynamic levels until its highest at the peak; fff. After the climax, the piece returns to its softer dynamic, and essentially fades
into nothingness at the end. The articulations are consistently legato and slurred throughout the work, maintaining a gentle
and soft sound even at its highest dynamic level. In the second to last phrase, accents are introduced for the first time in the
piece to emphasis the fragmented melody, but then returns to legato after this brief segment. The tempo of the piece begins
very slow, with ritardando and tons of rubato. When the piece reaches its climax, the tempo quickens significantly, and then
slows down significantly afterwards. The main theme of the expression is the perfection of restraint until the climax where
everything grows significantly, and when it is finished, everything falls back into its place but with resolution.

The Heart Statement

The heart of Rest is the abundant layering of dissonant tension slowly building up to an explosion of relief and resolution that
represents the human experience of grief and how we must move on from the past, but never forget it.

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Music Selection

Affective Outcome:
Students will explore their ability to change their interpretation of an event and how it can alter their feelings when thinking
about an experience or hardship faced in their lives. (Illinois SEL 1A, Stage J, #2)

Strategies
1. Story Mapping (literacy strategy), Teacher will have students individually draw a map of the story they think the piece
is trying to portray. They will then (over a series of time) build upon this story map, adding sections of the music that fit
the themes of conflict and climax points. The teacher will discuss the effect of the coda within Rest, and how the
interpretation of the tragedy has been changed to grow and move on from it; students will connect this to their story
map and try to come up with the same kind of idea, showing that they can effectively change their interpretation of an
event to create a different response.
2. The teacher will play a recording of Rest and students will listen for the emotive parts of the piece and what they might
represent. They will be given prompts on the board to think of while listening to the piece and will discuss as a group
afterwards.
a. What does the beginning of the piece sound like? How does it make you feel? What are some emotions that can
be associated with this sound?
b. What does the climax of the piece sound like? What kind of emotions are represented HERE? How is it different
than the beginning of the piece?
c. Finally, how did the end of the piece sound? What were some emotions that can be associated with it? How did
the ending sound compared to the beginning and climax of the piece?
3. Students will break into small groups and will be assigned a section/phrase of Rest in which they will choreograph
some physical movements that represent the shape, phrasing, articulations, melodic contour, and EMOTION of the piece
(essentially everything that we have been focusing on in this piece throughout all of the outcomes). When finished,
students will perform each of their sections/phrases with a recording of the piece for the rest of the class. After the
performances, the ensemble will discuss what they observed, how well the movements matched the music, how the
emotion of the piece was portrayed in the movements, and what we might do to further the expression of the music
through movement.

Assessment

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For the affective outcome assessment, students will be writing journal entries that explore more complex emotions. Since the
emotions highlighted in Rest are more complicated (as they can sometimes relate to grief and tragic events), as well as
students learning how to interpret events differently, this assessment is more of a tool for emotional growth that can start at
any stage. This form of assessment also creates a safe space for emotional growth and connection to music because there are
no right answers. As an educator, you can use this assessment throughout the school year to see if the students are learning; if
they aren’t getting enough emotionally out of the material you are teaching, you can adjust your approach so that every
student learns the affect of the piece effectively.

Journal Entry on Rest by Frank Ticheli Name: ________________________________________

Review Sara Teasdale’s poem, “There Will be Rest”. Reflect on the poem and your interpretation of it. In this entry, write your
thoughts on what the poem is about and how it connects to the idea of changing your interpretation of a situation that we have
been exploring these past couple of weeks. What are some situations that you may have experienced where you changed your
interpretation to alter your emotions for the better?

Skill Outcome:
Students will be able to identify and demonstrate the techniques used to make Rest expressive through clear legato
articulation, warm supported tone, and softer dynamics.

Strategies
1. Teacher will give out a short excerpt from the score and will ask students to draw/highlight the techniques that they
believe contribute to the overall emotion of the piece whether it be the dynamics, articulations, etc.
2. As students are rehearsing the climax section of the piece (where the dynamics grow and grow and then suddenly go
back to pianissimo), record the. Listen as a group and have students discuss what they heard. Listen to the professional
recording of that section, compare, contrast, and discuss how they can reflect those sounds within THEIR music.
3. Teacher will play a recording that demonstrates different sounds that represent staccato and legato articulations.
Students will move around the room, demonstrating these different articulations with their bodies. Students will pair
up, and then find new ways to demonstrate these articulations with their bodies and movements, and then we will play
a recording of Rest and move the way that the piece moves (legato and slow).

Assessment

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The skill outcome assessment will be a performance test because it tests the students’ performance of the skill rather than
simply their knowledge—they need to be able to apply their knowledge in context. Students will be given the expectations for
the performance assessment ahead of time so that they know what is expected of them and can practice the skills. When
tested, students will know how well they did on the different components of the playing exam through the numbering rubric
from 1-5 (5 being the best a student could possibly perform, and 1 being the least). Educators and students can use this to
gauge what individual students need to work on specifically, and what their strengths and weaknesses are. If the entire
ensemble scores lower in a certain skill, the teacher may need to go back and reteach the concept in a different way so that
every student is successful.

Individual Excerpt Performance Name: ________________________________________

Excerpt: Measures 17-28 of Rest

1. Effectively use of legato articulations 1 2 3 4 5

2. Tone was warm and well supported 1 2 3 4 5

3. Softer dynamics were well supported 1 2 3 4 5

4. Maintained a consistent tempo throughout the excerpt 1 2 3 4 5

5. Demonstrated expression and dynamic contrast 1 2 3 4 5

Knowledge Outcome:
Students will analyze the melody of Rest and examine how it is used for expressive purposes within the piece as it passes
around the ensemble.

Strategies
1. Teacher will give students a short excerpt a few of the melodic lines from the Rest, and students will draw lines/icons to
illustrate the shape of the melodic lines. (ex. is the melody ascending, descending, jumping, etc.? Lines should reflect the
shape of the melody)

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 2. The teacher will play a recording of Rest and students will listen with these specific questions in mind:
a. How does the melody move throughout the piece? What is its significance as the piece progresses?
b. What is the relationship between the melody and the harmony, and how does it contribute to the pieces most
impactful moments?
c. How does the melody make the piece expressive of the emotions that it is trying to portray?
Teacher will split the ensemble into groups of two or three students and will introduce a sharing game that utilizes
the melodic content that the students have been studying. Students will take turns maintaining beat musically in
their hands and making physical gestures to the melodic content while listening to a recording of Rest. One student
will make physical gestures to the melody while the others maintain beat in their hands. When the melody is
passed/restated, the student who had the melody before will pass it to one of their classmates and then start
keeping beat in their hands. As the piece progresses, students will continue to pass the melody around and create
new movements, and after a certain point it will get faster and more difficult to pass around.
3. Teacher will split the ensemble into groups of two or three students and will introduce a sharing game that utilizes the
melodic content that the students have been studying. Students will take turns maintaining beat musically in their
hands and making physical gestures to the melodic content while listening to a recording of Rest. One student will make
physical gestures to the melody while the others maintain beat in their hands. When the melody is passed/restated, the
student who had the melody before will pass it to one of their classmates and then start keeping beat in their hands. As
the piece progresses, students will continue to pass the melody around and create new movements, and after a certain
point it will get faster and more difficult to pass around.

Assessment
For the knowledge assessment students will be tested through an essay question to test if they understand the material or not.
Throughout the semester students will learn about the melody and its relationship to all other aspects in the piece. In this
essay questions, students relate the melody to their interpretation of the piece, and then take it a step further by explaining
how the melody creates those feelings within the piece. This allows students to take what they already know, analyze how
their interpretation is reflected in this melody, and how they can explain it out loud. For educators, it allows them to see if the
student understands the concept and can then take it a step further and apply it to something that they did not hear the
teacher talk about. Students can regurgitate knowledge but applying that knowledge to another aspect (the affect of the piece
perhaps) creates an additional challenge and shows teachers students growth over time.

Essay Question on Rest by Frank Ticheli Name: ________________________________

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Frank Ticheli uses the melody and harmony in Rest to create a conversation among the ensemble by passing the melody
around to emphasize its layering textures, expression of different emotions, and varying moods to create a story in which the
interpretation and meaning varies person to person In your own words, how does this piece speak to you emotionally (how
does it make you feel, what does it remind you of, what story might it remind you of, etc.) and how does the melody contribute
to those feelings?

Recommended Recordings

References

Works for Winds

Glossary of Terms

Sang through, studied, and marked parts (check off as completed)

Piccolo X Cornets/Trumpets 1st Violins

X Flutes X Horns 2nd Violins
Oboes X Trombones Violas
English Horn X Euphoniums Celli
X Bassoons X Tubas String Bass

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 Eb Clarinet Harp
X Clarinets Timpani
Alto Clarinets Snare Drum Sopranos
X Bass Clarinets Mallet Percussion Altos
Contra Bass/Alto Clarinet X Remaining Percussion Tenors
X Saxophones Piano Basses

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