CMP Teaching Plan

Nora Reschke

Amazing Grace
Frank Ticheli
Manhattan Beach Music – Medium (Grade 3)/6 minutes

Broad Description
 The original “Amazing Grace” was written by John Newton, who was a Slaveship captain, who transported slaves across the
Atlantic Ocean to the “New World.” During this time, he started to understand the outcomes of his actions, which he
then wrote the song, “Amazing Grace.” 

Composer Biography
Frank Ticheli was born on January 21, 1958 in Monroe, Louisiana. He received his Doctor of Musical Arts
and master's Degrees in Composition from the University of Michigan. 
He is a composer well is known for his variety of works for bands, orchestras, wind ensembles, chamber groups, and theater-
music. Ticheli was an Assistant Professor of Music in San Antonio, Texas at Trinity University. In 1991 and up until
1998, Ticheli composed in residence with the Pacific Symphony Orchestra, located in California.  
Frank Ticheli has also received many awards. Some of the awards he received were The Arts and Letters Award, The Charles
Ives Scholarship, and the Goddard Lieberson Fellowship. Ticheli has also received the National Band Association/Revelli Memorial
Prize. He has received the Virginia Ramo Award for excellence in teaching and the Dean’s Award for Professional Achievement at
USC. 

Background Information
The original “Amazing Grace” was written by John Newton, who was a Slaveship captain, who transported slaves across the
Atlantic Ocean to the “New World.” During this time, he started to understand the outcomes of his actions, which he then wrote the
song, “Amazing Grace.” 
Frank Ticheli wanted to reflect the words of the piece into his melody. He also wanted the melody to be honest, sincere and
direct. Ticheli believed that music has the power to replace words. Ticheli’s goal was to be very expressive with the piece.
Elements of Music
Measure Meter and Form Melody Rhythm Harmony Timbre Texture Expression
Tempo

All Simple All upper Upper Blend of all Smooth,

Poco woodwinds quarter notes woodwinds woodwinds, upper connected,
rubato have moving flow. Warm. woodwinds legato
1-8 Quarter Introduction moving diatonically. along with a
note = 72- quarter low brass
80 notes accompaniment
together. ,
Simple Flute and 1st Warm. Clarinet and
Slower,
Alto Sax quarter notes clarinet Saxophone flute along with Connected,
senza
Solo and 8th M11-24 solo. a buildup of legato,
9-24 rubato
First statement notes. Along Trumpet 1. low reeds and flowing.
(Quarter
with dotted Solo low brass at
note = 63-
half notes. measure. 17 measure 17.
69)
(chamber)
Flute, oboe, quarter Tutti. Full sound Suspended Smooth and
clarinet 3, notes, half Clarinet from whole cymbal rolls. connected.
Slower, trumpet, notes and 8th 1&2. Bass band. Full band Full sound
senza horn notes. CL. Warm. throughout
rubato Second Presence of Bassoon, whole section
25-38
(quarter statement (tutti) triplets. saxophones.
note = 63- Trumpet 1
69) trombone,
euphonium,
tuba.
Upper Quarter Lower Upper Full band Smooth,
39-46 Slower, episode

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 woodwinds. notes, half woodwinds, woodwind playing notes in ascending
senza
Flute, oboe, notes, dotted brass, flowing, an ascending motion,
rubato
clarinet. half notes, timpani. warm sound. motion. flowing.
(quarter
16th notes,
note = 63-
and dotted
69)
8th notes.
Horn solo. Quarter 1st clarinet Full sound Different Smooth and
notes, 8th and flute from whole instruments connected.
Slower,
notes, tied have counter band. Use of coming in at Section has
rubato
and slurred melody. percussion different a lot of
47-69 (quarter development
notes. Oboe at vibraphone. measures. echoing
note = 63-
Dotted half measure 51 Clarinet, flute, effects from
69)
notes. oboe, echoing different
the horn solo. sections.
Transition. Quarter Mix of Warm, dark Low brass/low Smooth,
Heavy notes, 8th saxophone sound from reeds with dark and
A tempo presence of notes, dotted and low low longer held connected.
70-82 transition
Rubato low half notes. brass. brass/low notes.
reed/low reeds.
brass.
Clarinets, Quarter Flute, oboe, Full broad Full band Big sound,
alto sax 2, notes, half alto sax sound from playing with smooth and
“broadly” Final statement trumpet 3, notes, dotted 1,trumpet 2, full band. suspended connected.
83-98
a tempo (climax) horn 1, half notes, with echo/ Large light cymbal rolls
8th notes. secondary sound. and cymbal
theme. crashes.
99-End Poco Coda Alto 8th notes, Clarinets, Soft, gentle, Woodwind/low Smooth,
rubato saxophone quarter bassoon, warm sound. brass connected
Quarter solo notes, half tenor/bari accompaniment and legato.
note = 72- notes, dotted sax. to alto Separation
80 half notes. saxophone solo of notes
Horn, with the use of from flutes
trombone, vibraphone and and

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 euphonium flute from 104- vibraphone
and tuba at end from 104-
m101-end. end.
Vibraphone
last 3
measures.

Element Summaries:

Form – The form is a sonata allegro form. However, this does not have the appearance of a second
theme. The outline of form is – Introduction, First Statement of Theme, Second State of theme,
Episode, Development, Transition, Final Statement (climax) and Coda. The final statement is the
recapitulation.

Rhythm – The rhythm in this piece is very basic and not complex. There is a heavy presence of
quarter, half, eigth, dotted half/quarter notes, and sixteenth notes. There are a few instances of
triplets.

Melody – the melody of the piece is based from the text of “Amazing Grace” by John Newton.
There are heavy presences of a perfect 4th motif found in the melody that is repeated various times
throughout different sections of the band.

Harmony – The work is initially set in Eb. There are instances where the key travels to Bb, Db and
F within the development section. The key of Bb is also in the transition section that goes into the
recapitulation.

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Timbre – The timbre of the piece varies from each section. Typically, the timbre is “warm”,
however there are times where it can feel “dark”. Most of the time, the full band is playing to create
the timbre.

Texture – The texture varies from each instrumental section of the band. The introduction begins
with unison Bb and moves ascendingly and then in a descending motion. With the minimally
involved percussion, there are suspended cymbal rolls along with a use of bells and vibraphones to
add texture. The first statement (included in program notes) is to be a chamber like feel. The
program notes state to have one preforming on a part until. The second statement of the theme.
There are instances of polyphonic writing that surrounds the melody.

Expression – Expression in this piece is crucial. Having a balance is important to the expressiveness
capabilities of the piece. There are small dynamic uses from a soft ppp to a f, at the climax (m83)

1. Text - Amazing grace! How sweet the sound

That saved a wretch like me!
I once was lost, but now am found;
Was blind, but now I see.

2. ’Twas grace that taught my heart to fear,

And grace my fears relieved;
How precious did that grace appear
The hour I first believed.

3. Through many dangers, toils, and snares,

I have already come;
’Tis grace hath brought me safe thus far,
And grace will lead me home.

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 4. The Lord has promised good to me,
His Word my hope secures;
He will my Shield and Portion be,
As long as life endures.

5. Yea, when this flesh and heart shall fail,

And mortal life shall cease,
I shall possess, within the veil,
A life of joy and peace.

6. The earth shall soon dissolve like snow,

The sun forbear to shine;
But God, who called me here below,
Will be forever mine.

7. When we’ve been there ten thousand years,

Bright shining as the sun,
We’ve no less days to sing God’s praise
Than when we’d first begun.

The text is found in the instruments playing melody. The melody bounces from instrument to instrument including alto
saxophone and horn.

The Heart Statement

- The heart of this piece is how it creates strong emotions and feelings by the expressive capabilities in the
arraignment, along with the overall associations with the original song.

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Frank Ticheli stated in his program notes that, “I believe music has the power to take us to a place where words
alone cannot.”

Music Selection

Introducing the Piece (strategies)

Have a recording of a band performing the arrangement without showing or telling the students what
the piece is. Try and have them guess what it is by listening to the melody (alto saxophone at the
beginning). This is a way to see what students know the tune and can introduce the piece and the
choices Ticheli made in his arrangement.

Affective Outcome:
Students will be able to recognize expressive techniques and utilize them while playing. Students
will be able to reflect and make connections on the topic of expression.

Students will explore the historical significance of the piece and discuss how its relevance brings the
expression of the piece out.

Strategies –
Students will discuss the different expressive techniques Ticheli used in his work.
Students will listen to a section of the music and stand up or sit down (or use their hands) based on the dynamic
level being performed.

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Students will listen to a choral version of Amazing Grace to hear the lyrics.
Students will look at various examples of expressive techniques and discuss what each technique means.

Assessment – Students will perform a section of the piece that incorporates multiple expressive techniques with
their instrumental section.

Rubric – 5 4 3 2 1
5 – The student affectively performed all expressive techniques accurately and played accurate notes
4 – The student performed most expressive techniques accurately and played most of the notes accurately
3- The student performed some of the expressive techniques accurately and played some of the notes accurately
2- The students barely played expressive techniques accurately and had a hard time playing notes accurately
1 – The student did not try

Skill Outcome:
Students will be able to demonstrate the techniques and fundamentals needed to play with
expression.

Students will recognize, perform and notate rhythmic patterns

Strategies –
Students will play a scale while performing expressive techniques
Students will listen to a recording of a section and discuss which techniques were used.

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Students will see a rhythm on the board and play it.
Students will hear a rhythm and repeat it back on their instrument.

Assessment – The students will receive a paper test.

1. Students will be given 4 different measures from the score and will write in the numeric counting for each
given measure.

2. Students will be given pictures of various expressive technique markings found in the music, they will
identify each one and describe what it does.

Rubric
54321
5 – The student had outstanding; work, no errors found in work.
4 – The student had great work; one or two errors found in work.
3- The student had good work; a few errors found in work.
2- The students had nice work; multiple errors found in work
1 – The student did not try or complete the assignment

Knowledge Outcome:
Students will be able to perform and recognize the use and development of expression such as
techniques with dynamics.

Students will be able to analyze, describe, and identify ideas in the composition and discuss the
musical form.

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Strategies –
Students will create their own 4 bar phrase and add their own expressive markings in the piece.
Students will clap (loud or softly) their parts according to dynamic levels provided.

Students will listen to a recording of the piece and write down what sections sound similar and different from one
another.
Students will work in small groups and discuss what makes each section sound different from one another.

Assessment – The ensemble will be recorded while playing a section of the piece. The students will write a
reflection after rehearsal in a journal as to how they felt they performed expressive techniques as an ensemble and
personally.
Rubric
54321
5- The student did an outstanding job and thoroughly wrote in a reflection of their personal playing along with an
ensemble performance reflection
4- The student did a great job and reflected both on their personal work along with the ensemble work.
3- The student did a good job and briefly reflected on their personal work and the ensemble.
2- The student did a nice job and reflected on either on only one of the two requirements: personal playing or
ensemble performance.
1 – The student did not participate.

Recommended Recordings
W&M Wind Symphony - https://www.youtube.com/watch?v=m4thqzJCfPs
MSSU Wind Ensemble https://www.youtube.com/watch?v=ps6jetBHyeU

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References
https://www.manhattanbeachmusic.com/html/amazing_grace.html

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
x Oboes x Trombones Violas
English Horn x Euphoniums Celli
x Bassoons x Tubas String Bass
Eb Clarinet Harp
x Clarinets x Timpani
Alto Clarinets Snare Drum Sopranos
x Bass Clarinets x Mallet Percussion Altos
x Contra Bass/Alto Clarinet x Remaining Percussion Tenors
x Saxophones Piano Basses

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