Jayne Klinge

Instrumental Conducting

5/4/18

Cajun Folk Song by Frank Ticheli Unit Study

Unit 1: Composer

Frank Ticheli was born on January 21, 1958 in Monroe, Louisiana. He is a composer of orchestral, chamber,

choral, and concert band works. Previously he served as Assistant Professor of Music at Trinity University

in San Antonio, Texas. From the years of 1991 to 1998, he was the resident composer for the Pacific

Symphony. He is currently a composition professor at the University of Southern California.

He was the only member of his immediate family to further his music education. He had a very musical

grandfather who played saxophone in a jazz band. He also had cousins who were founding members of

the group Dukes of Dixieland. To further his own education, Ticheli received bachelor’s degrees in both

music education and theory/composition from Southern Methodist University. He then went on the

University of Michigan to obtain both a masters and doctorate in composition.

His works have become standard in the concert band repertoire throughout the United States and Europe.

He has appeared as a guest conductor in Carnegie Hall and many different cities around the world. His

works have won numerous awards including the 2006 National Band Association/William D. Revelli

Memorial Band Composition Contest, and the first-prize award in the Delius Composition Contest (2000).

Other works include, Vesuvius, An American Elegy, An American Dream (For Solo Soprano), Earth Song,

and Out of the Blue.

Unit 2: Composition

This piece is written in two movements commissioned by Murchison Middle School Band of Austin, Texas.

This piece is scored for flutes 1-2, Oboe 1-2, Bassoon 1-2, Clarinet 1-3, Alto Clarinet, Bass Clarinet, E-flat

Contrabass Clarinet, E-flat Contra-alto Clarinet, B-flat Contrabass Clarinet, Alto Saxophone 1-2, Baritone

Saxophone, Trumpet 1-3, Horn 1-2, Trombone 1-3, Euphonium (TC and BC), Xylophone, Marimba,

Suspended Cymbal, sand blocks and cabasa, Medium-Large Triangle, Castanets, Tambourine, Tom-Toms,

and Bass Drum. It was written in 1991 and runs approximately 6:15. It is based on two folk songs put

together by John and Allan Lomax. “La Belle et le Capitaine,” and “Belle” respectively. The first movement

tells the story of a girl who dies to avoid being seduced by a captain. The second movement is about a

man who goes to Texas and is forced to return to Louisiana once he hears of his girl’s illness. Once he

returns he attempts to pawn his horse to save her life, but he is too late. The music for these movements

were collected from a 1934 phonograph recording.

Unit 3: Historical Perspective

Cajuns depicted in this music are descendants of Acadians, which were French Colonists from Nova Scotia.

They were driven out by Britain and settled in Southern Louisiana and parts of Texas. During this time

(1755-1763) France and Great Britain were fighting over what is now Quebec. Acadians refused to support

the French but Great Britain was fearful of their alliances as well. Southern Louisiana was under Spanish

rule at the time and Acadians eventually settled there. These Acadians were poor Catholic farmers.

Acadians settled here between 1765-1785. France turned over this portion of Southern Louisiana to the

Spanish and they welcomed these settlers as they saw them as idea.

John and Allan Lomax (father-son) were important figures in recording much of the information we have

about early blues, Cajun, and New Orleans jazz. They traveled all over the country recording live music

from the 1930s and 1940s. The music from this region became extremely Americanized which is what
prompted John and Allan to drive around these areas and record live performances of traditional Cajun

music. These recordings were for the Archive of Folk Music in the Library of Congress. They also published

many song books which are no longer in print.

Unit 4: Technical Considerations

Ticheli describes this piece as a grade 3 ½. Range is not an issue in this level, but this piece calls for many

soloists: flute, oboe, clarinet, saxophone, trumpet, horn, low brass, and percussion. Clarinets do cross the

break, but clarinet 3 does not cross the break often. The range of the trumpet gets a little high (A5) so this

could pose a problem for some students. Thankfully, more unique instruments like the E-flat contra-alto

clarinet and B-flat contrabass clarinet basically doubles the Tuba part. The second movement has some

tonality shifts. The first movement is basically in D Dorian while the second movement is in F Major.

The first movement (D Dorian) has a free flowing melody starting in the saxophone. The main melody

moves freely around the band. This movement also changes effortlessly between 2/4 and 3/4 time

signature. The second movement (F Major) is written in 5/4 but also touches 2/4, 3/4, and 4/4. This second

movement was originally written to be played slower, but Ticheli sped up the tempo when he discovered

it was more effective.

In both movements it is important to maintain tempo and use expressive dynamics. Melody is written in

unison and octaves so tuning and balance may also pose problems for some bands. Parts are pretty

individual so the responsibility remains mainly in the student’s preparation. They must be confident in

their parts as well as counting rests.

Unit 5: Stylistic Concerns

The first movement requires great musicality. The flowing melody and solo lines need wide dynamic

contrast to effectively portray the story. Articulated passages should not have a harsh tongue. Young
musicians tend to clip the ends of notes and phrases, so this is the perfect teaching opportunity for

students to expand phrases and use full valued notes. Orchestration is also extremely important to help

with color shifts. Students must be aware of their part and how it fits in the ensemble. In the second

movement, accents are extremely important along with dynamics. Articulations of the second movement

should be light, not clipped and heavy. This movement represents a dance.

Unit 6: Musical Elements

The soloist lines of the first movement require great musicianship and flow. Ticheli has noted that he

doesn’t start conducting until measure seven giving the soloist free reign of musicianship. The dynamic

swells in the first movement are also never done enough. He notes that they are very important. As an

educator of young developing musician, in the first movement it would be important to discuss where to

breath so they do not disrupt the line. Intonation will be important with all the unison and octave writing.

This is a good piece to use singing technique in rehearsal to feel the singing quality of the melody. Harmony

of this piece is based on D Dorian. This gives teachers a great opportunity to discuss all modes in relation

to major scales. Many students are not exposed to modes until college. This gives students a better

understanding of all music.

The second movement represents a dance so it has varied textures and colors. Accents here are important

to help drive the uneven meter feel. After completion of this work Ticheli found that having the second

movement played faster makes more musical sense. It is noted that quarter note equals 152-160, but

Ticheli suggests to play this movement at 168. He also feels it is easier to conduct this movement as 6/8

2/4 bars. The music flows much better with this pattern style and faster tempo. Harmony of this

movement is F Major. The challenge rhythmically in this piece will be keeping a steady tempo. Teachers

must have students subdivide to the sixteenth note. For both movements, the teacher must always

encourage and establish good tone quality. This helps with intonation and balance problems as well.
Unit 7: Form and Structure

Movement 1:
Measures 1-16: Theme 1 Alto Sax Solo Section, Solo Clarinet accompaniment at m. 7. In D Dorian, Quarter
Note equals 63
Measures 17-38: Restatement of Melody and accompaniment without flute. Melody in Clarinet, Alto
saxophone, and trumpet.
Measures 39-49: Flute enters, Bottom drops out, development/transitional material/ fragmented melody
Measures 50-62: Final statement of melody in Oboe, Clarinet, Alto Sax, B-flat Trumpet, Trombone, and
Euphonium. Full band plays
Measures 62-74(end): Coda
Movement 2:
Measures 1-4: Introduction Sand blocks, Oboe, and Alto Saxophone Melodic Rhythm
Measures 5-11: Main Theme Introduced in Trumpet
Measures 12-21: 2nd Theme Introduced in Woodwinds, New percussion ostinato
Measures 22-27: Theme A restated in woodwinds, no percussion
Measures 28-30: Partial Theme B in Flute/Oboe
Measures 31-57 Theme A Develops, tonality and color
Measures 58-64: Theme B in flute oboe and xylophone
Measures 65-68: Theme A fragmented
Measures 69-73: Theme B fragmented
Measures 74-81: Theme A fragmented and developed
Measures 82-87: Transition to new tempo
Measures 88-91: Quarter note equals 88 Transition Theme A in Tenor Saxophone
Measures 92-100: Theme A passed around, Trumpet, Flute, Alto Saxophone
Measures 101-103: Theme B Upper Voices
Measures 104-119: Theme A and B Together
Measures 120-132(end): Coda
Unit 8: Suggested Listening

Lomax,Alan:
Alan Lomax Collection Sampler. CD. Rounder Select Label. 1999.
Cajun and Creole Music, Volume 1 1934/1937. CD. Rounder Select Label. 1999. “Belle”
Cajun and Creole Music, Volume 2 1934/1937. CD. Rounder Select Label. 1999. “La Belle et le Capitaine”

Ticheli, Frank:
Cajun Folk Songs II. Manhattan Beach Music. 1997.
A Shaker Gift Song. Manhattan Beach Music. 2004.
Vesuvius. Manhattan Beach Music. 1999.

Unit 9: Additional References and Resources

Besse, Jody Anthony, "AN ANALYSIS AND AN HISTORICAL CONTEXTUALIZATION OF FRANK TICHELI’S
“CAJUN FOLK SONGS”" (2012). Dissertations. 518. http://aquila.usm.edu/dissertations/518
"Biography of Frank Ticheli." Frank Ticheli. Classic Cat, 2016. Web. 16 Mar. 2017.
"Cajun Folk Songs - Frank Ticheli." WynnLiterature. N.p., n.d. Web. 17 Mar. 2017.
Miles, Richard B., Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, and Edward
S. Lisk. Teaching Music Through Performance in Band. Vol. 1. Chicago: GIA Publications, 2013. Print.
“University of Southern California.” Frank Ticheli. USC Thornton School of Music. USC Thornton School of
Music, n.d. Web. 17 Mar. 2017