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UBC Theses and Dissertations

Movements, chamber orchestra Three movements for wind ensemble Trew, Michael Russell 1986

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THREE MOVEMENTS FOR WIND ENSEMBLE By M i c h a e l R u s s e l l T r e w B . M u s . , The U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1972 M . M u s . , The U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1980 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS ( C o m p o s i t i o n ) i n THE FACULTY OF GRADUATE STUDIES ( S c h o o l o f M u s i c ) We a c c e p t t h i s r e c i t a l as c o n f o r m i n g t o . t h e r e q u i r e d s t a r f d a r d THE UNIVERSITY OF B R I T I S H COLUMBIA O c t o b e r 1986 © M i c h a e l R u s s e l l T r e w , 1986 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the requirements f o r an advanced degree at the U n i v e r s i t y o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and study. I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may be granted by the head o f my department or by h i s or her r e p r e s e n t a t i v e s . I t i s understood t h a t copying or p u b l i c a t i o n of t h i s t h e s i s f o r f i n a n c i a l gain s h a l l not be allowed without my w r i t t e n p e r m i s s i o n . Department of 1/ $ ( (  The U n i v e r s i t y of B r i t i s h Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6 (3/81) i i ABSTRACT T h r e e M o v e m e n t s f o r Wind E n s e m b l e , a 1 3 - m i n u t e work f o r a w i n d e n s e m b l e c o n s i s t i n g o f t w e n t y - f i v e i n s t r u m e n t s , was c o m p o s e d i n V a n c o u v e r b e t w e e n 1 9 8 4 - 8 6 . The f i r s t and t h i r d movements o f t h i s work a r e r e m i n i s c e n t s t y l i s t i c a l l y o f t h e N e o - c l a s s i c a l t r a d i t i o n , w h i l e t h e s e c o n d i s a p a s s a c a g l i a i n v o l v i n g a t o n a l o s t i n a t o j u x t a p o s e d w i t h a t o n a l i d e a s . I d e a s , b o t h t h e m a t i c and s t r u c t u r a l , w h i l e e n t i r e l y o r i -g i n a l , e x c e p t f o r a 6 - b a r s e q u e n c e i n m e a s u r e s 5 9 - 6 4 o f movement 1 , w e r e i n f l u e n c e d by s p e c i f i c w o r k s o f s e v e r a l c o m p o s e r s . S t y l i s t i c a l l y , t h e c o m p o s i t i o n i s t o n a l , and r e f l e c t s my b a c k g r o u n d i n j a z z c o m p o s i t i o n as w e l l as my c l a s s i c a l t r a i n i n g . C h o r d s a r e f r e -q u e n t l y c h a r a c t e r i z e d by t h e u s e o f m a j o r s e c o n d c o n f i g u r a t i o n s , and m e l o d i e s a r e d e r i v e d f r o m n u m e r o u s s o u r c e s . The m u s i c o f B a c h , S t r a v i n s k y , and I v e s e x e r t s t r o n g i n f l u e n c e s on t h e w o r k . The work i s d i f f i c u l t t o c a t e g o r i z e s t r u c t u r a l l y , b e c a u s e t h e f i r s t and t h i r d movements a r e n o t t r a d i t i o n a l f o r m s . I f e e l t h a t t h e p i e c e m i g h t a p p e a l t o b o t h g i f t e d and a v e r a g e l i s t e n e r s . The i n d i v i d u a l p a r t s a r e n o t c o m p l e x o r d i f f i c u l t t o p e r f o r m , b u t t h e r e s u l t i n g e n s e m b l e y i e l d s an o v e r a l l c o m p l e x i t y . I t i s my hope t h a t o t h e r c o m p o s e r s w i l l s e e t h e p o s s i b i l i t i e s t h a t I h a v e e x p l o r e d as a b a s i s f o r f u r t h e r e x p l o r a t i o n . S u p e r v i s o r TABLE OF CONTENTS A b s t r a c t T h r e e M o v e m e n t s f o r Wind E n s e m b l e 1 THREE MOVEMENTS FOR WIND ENSEMBLE T h r e e M o v e m e n t s f o r Wind E n s e m b l e , a 13 m i n u t e work f o r a w i n d e n s e m b l e c o n s i s t i n g o f t w e n t y - f i v e i n s t r u m e n t s , was c o m p o s e d i n V a n c o u v e r b e t w e e n 1984 and 1 9 8 6 . The f i r s t and t h i r d movements o f t h i s work a r e r e m i n i s c e n t s t y l i s t i c a l l y o f t h e N e o - c l a s s i c a l t r a d i t i o n , w h i l e t h e s e c o n d i s a p a s s a c a g l i a i n v o l v i n g a t o n a l o s t i n a t o j u x t a p o s e d w i t h a t o n a l i d e a s . I d e a s , b o t h t h e m a t i c and s t r u c t u r a l , w h i l e e n t i r e l y o r i -g i n a l , e x c e p t f o r a 6 - b a r s e g m e n t f r o m a B a c h c h o r a l e ( B W V : 3 7 8 ) i n m e a -s u r e s 5 9 - 6 4 o f Movement 1 w e r e i n f l u e n c e d by s p e c i f i c w o r k s o f s e v e r a l c o m p o s e r s : S t r a v i n s k y ' s Symphony o f P s a l m s ( 1 9 3 0 ) , I v e s ' The U n a n s w e r e d  Q u e s t i o n ( 1 9 0 6 ) , R a v e l ' s B o l e r o ( 1 9 2 9 ) , and S h o s t a k o v i c h ' s 5 t h Symphony ( 1 9 4 5 ) . S t y l i s t i c a l l y t h e c o m p o s i t i o n i s t o n a l , and r e f l e c t s my b a c k -g r o u n d i n j a z z c o m p o s i t i o n as w e l l as my c l a s s i c a l t r a i n i n g . When I was p r e p a r i n g t h i s d o c u m e n t , I r e r e a d C a r l D a l h a u s ' a r t i c l e on t o n a l i t y f r o m t h e New G r o v e s ' D i c t i o n a r y , i n o r d e r t o i d e n t i f y t e c h -n i q u e s p e r t a i n i n g t o my own c o m p o s i t i o n . I n d i s c u s s i n g t h e b i t o n a l i t y and p o l y t o n a l i t y f o u n d i n M i l h a u d ' s and R e g e r ' s e a r l y s o n g s , D a l h a u s s u g g e s t s t h a t " t o n a l i t y i s r e t a i n e d i n t h e m e l o d i c w r i t i n g as a c h a r a c -t e r i s t i c o f s e p a r a t e p a r t s , b u t i s c a n c e l l e d o u t by t h e h a r m o n i c and p o l y p h o n i c s t r u c t u r e . " I n my p i e c e on p a g e 3 , m. 1 2 , t h e p i c c o l o , f l u t e s , o b o e s , t e n o r s a x o p h o n e and c l a r i n e t a r e p l a y i n g m e l o d i c r e f e r e n c e s t o t h e t h i r d t h e m e o f t h e o p e n i n g m o v e m e n t , w h i l e t h e B^ c l a r i n e t s and p i a n o a r e p l a y i n g r e f e r e n c e s t o t h e s e c o n d t h e m e . The f i r s t m e l o d i c r e f e r e n c e i s t o a t o n a l c e n t r e o f C#m, t h e s e c o n d B M . 2 U n d e r n e a t h , h o w e v e r , i n t h e b r a s s , i s a h e l d c h o r d made up o f t h e n o t e s B , C # , G#, A # , and D#. The l o w e s t n o t e i s a C # , b u t t h e a m b i g u o u s n a -t u r e o f t h e a g g r e g a t e d e f i e s an a c c u r a t e o r e x p l i c i t s e n s e o f k e y . T h i s i s a c o n s c i o u s a t t e m p t on my p a r t t o be a m b i g u o u s , b u t two t h i n g s m u s t be c l e a r : I am d e f i n i t e l y n o t t h i n k i n g i n t e r m s o f b i t o n a l i t y o r p o l y -t o n a l i t y , t h o u g h some m i g h t w i s h t o c o n s i d e r t h e p a s s a g e i n t h i s w a y , a n d , s e c o n d l y , I am t r y i n g t o a v o i d t h e s o r t o f d i s s o n a n c e s t h a t w o u l d l e a d t o c o n s i d e r a t i o n s o f a t o n a l i t y . T h r o u g h o u t t h e e n t i r e w o r k " c h o r d s " a r e c h a r a c t e r i z e d by t h e u s e o f m a j o r s e c o n d s , i n o r d e r t o p r e -v e n t h a r s h - s o u n d i n g m u s i c a l " e v e n t s " . T h i s s e c t i o n p r o v i d e s an e x a m p l e o f a p r o b l e m w i t h w h i c h I had t o d e a l t h r o u g h o u t t h e w o r k : I w a n t e d t o w r i t e a t o n a l work w i t h some a t o n a l e l e m e n t s , and d i s c o v e r e d t h a t t h i s c a n be a d i f f i c u l t p r o c e s s , i f n o t d e a l t w i t h v e r y c a r e f u l l y . In t h e t w e n t i e t h c e n t u r y t h e r e h a v e b e e n many d e f i n i t i o n s o f n o n - f u n c t i o n a l t o n a l w o r k s , some o f w h i c h c a n be a p p l i e d t o my p i e c e , b u t none t h a t r e a l l y d e s c r i b e i t a c c u r a t e l y . One t h i n g I d i d n o t want t o h a p p e n i n c r e a t i n g t h i s work was t o p r o v i d e a n o t h e r e x a m p l e o f what some t h e o r i s t s h a v e d e s c r i b e d as " w r o n g - n o t e h a r m o n y " - - a t e r m u s e d t o d e s c r i b e some o f S t r a v i n s k y ' s e a r l y c o m p o s i -t i o n s . The f i r s t movement o f my p i e c e i s c o n s t r u c t e d somewhat l i k e t h e f i r s t movement o f S t r a v i n s k y ' s Symphony o f P s a l m s , i n t h a t a c h o r d a l c o n f i g u r a t i o n i s s t a t e d , a r o u n d w h i c h v a r i o u s t h e m a t i c e l e m e n t s e v o l v e . H o w e v e r , t h e m e t h o d i n w h i c h t o n a l c e n t r e s a r e e s t a b l i s h e d i n my p i e c e d i f f e r s f r o m t h e way i n w h i c h S t r a v i n s k y e s t a b l i s h e s t h e m . S t r a v i n s k y 3 i s r e f e r r e d t o as a c o m p o s e r who c r e a t e s n e t w o r k s w h i c h s t a r t f r o m one c e n t r e and s e a r c h f o r a t o n a l " p o l e " . In my p i e c e , t h e o p e n i n g h a r m o n y o f t h e f i r s t movement i m p l i e s C , and t h e p i e c e e n d s i n C , b u t i n b e -t w e e n , h o w e v e r , t h e r e a r e r e f e r e n c e s t o o t h e r t o n a l a r e a s , w h i c h do n o t a t a l l l e a d one t o f e e l t h a t C w i l l n e c e s s a r i l y be f o u n d at t h e e n d . H e r e i s an e x a m p l e o f t h e f i r s t v e r t i c a l s o n o r i t y f o u n d i n my p i e c e : On p a g e 1 0 , m . 3 7 - 4 0 , t h e b r a s s a r e p l a y i n g i n BM. The o p e n i n g t h e m e , w h i c h b e g a n i n A , i s t r a n s p o s e d up t o B t o c r e a t e c o n s o n a n c e , and t h e n , at m. 41 a v e r t i c a l s o n o r i t y b u i l t f r o m m a j o r s e c o n d s and p e r f e c t f o u r t h s a m b i g u o u s l y r e f e r s t o e i t h e r A o r B , o r p e r h a p s e v e n C . The a g g r e g a t e h e r e c o n s i s t s o f t h e n o t e s A , E , A , B , i m p l y i n g an AM c h o r d , b u t a C i n t h e b a s s and t u b a , as w e l l as t h e n o t e s D and G c l o u d t h e i s s u e . P e r s o n a l l y , I f e e l t h a t C i s t h e p r i m a r y t o n a l c e n t r e i n t h i s a g g r e g a t e , r e - e s t a b l i s h i n g by s h e e r f o r c e t h e t o n a l i t y i m p l i e d at t h e b e g i n n i n g o f t h e c o m p o s i t i o n . I n t h i s s e n s e t h e movement i s r e m i n i s -c e n t , i n a s l i g h t w a y , o f S t r a v i n s k y , b u t I f e e l what i s i m p o r t a n t i s t h a t t o n a l i t y i s e s t a b l i s h e d i n t h i s s e c t i o n b y c o m b i n i n g h a r m o n i c c o n f i g u r a t i o n s w i t h m e l o d i c i d e a s t o p r o d u c e a m b i g u i t y , and n o t h a r s h c o n t r a s t s . I t i s i m p o r t a n t t o me t h a t my work n o t be p e r c e i v e d as a c o n s c i o u s e f f o r t t o r e p r o d u c e p r e v i o u s i d e a s as t o how t o e s t a b l i s h n o n - f u n c t i o n a l t o n a l i t y . 4 T h e r e a r e t h r e e m a i n m e l o d i c t h e m e s i n t h e f i r s t m o v e m e n t , e a c h s u r r o u n d e d by c h o r d a l f o r m a t i o n s . The m o s t i m p o r t a n t i s a B a c h - l i k e m o t i f , r e f l e c t i n g my d e e p r e s p e c t f o r t h e B a r o q u e p e r i o d : The t i t l e " C o l l a g e " r e f e r s t o t h e f a c t t h a t t h e m a i n t h e m e s a r e j u x t a p o s e d a g a i n s t one a n o t h e r . One theme e v o l v e s o u t o f t h e o t h e r , w h i l e i n t u r n t h e p r e v i o u s theme becomes a c o n t r a p u n t a l o r a c c o m p a n y i n g l i n e . My u s e o f c o l l a g e d o e s n o t e x a c t l y p a r a l l e l i t s u s e i n any w o r k s t h a t I am f a m i l i a r w i t h , t h o u g h I am s u r e p a s s a g e s f r o m w o r k s b y C h a r l e s I v e s c o u l d be c i t e d as s i m i l a r . The s e c o n d movement i s b a s e d on a r e p e a t e d h a r m o n i c p r o g r e s s i o n and i s p e r m e a t e d by an u n u s u a l m e l o d i c t h e m e . T h i s a t o n a l theme i s j u x t a -p o s e d w i t h a j a z z - l i k e c h o r d a l o s t i n a t o , c o n t i n u o u s l y r e p e a t e d b e l o w t h e t h e m e . The s t r u c t u r e o f t h e movement i s n o t u n l i k e t h a t o f C h a r l e s I v e s ' b r i l l i a n t m a s t e r p i e c e , The U n a n s w e r e d Q u e s t i o n ( 1 9 0 6 ) i n i t s u s e o f a r e p e a t e d c h o r d a l o s t i n a t o a b o v e w h i c h a t o n a l e l e m e n t s a r e f o u n d m e l o d i c a l l y . H e r e i s an e x a m p l e o f t h e r e p e a t e d c h o r d s : The p r e d o m i n a n t theme o f t h e t h i r d movement i s a v a r i a t i o n o f t h e B a r o q u e - l i k e m e l o d y o f t h e f i r s t and i t i s f r e q u e n t l y i n t e r r u p t e d b y 5 v e r y f e r o c i o u s c h o r d a l o u t b u r s t s . T h e s e i n t e r r u p t i n g s o n o r i t i e s a r e o f t e n b i t o n a l i n n a t u r e . The t o n a l i t y i s c o n s t a n t l y s h i f t i n g , as i n t h e f i r s t m o v e m e n t . F o r e x a m p l e , on p . 4 6 , m . 3 7 , F# i s a t o n a l c e n t r e , b u t at m . 40 I r e m o v e t h e c h r o m a t i c i s m so t h a t F o r C i s t h e c e n t r e . By p . 4 8 , m. 4 5 , C# o r G# a p p e a r s c e n t r a l . I n b o t h t h e f i r s t and t h i r d movements t h e c o n c e p t o f t r a d i t i o n a l m o d u l a t i o n i s n o n - e x i s t e n t . F o r e x a m p l e , C and C# c a n be i n t e r c h a n g e d i n my p i e c e , p r o v i d e d t h e o v e r a l l a g g r e g a t e s r e s u l t i n t o n a l a r e a s o f some k i n d . When I w r i t e E , F # , G#, A , B , C # , D#, an EM s c a l e , as an a g g r e g a t e , any c o m b i n a t i o n o f t h e s e t o n e s a r e t r e a t e d , i n t u i t i v e l y , as an E c h o r d , r e g a r d l e s s o f r o o t . A s w e l l , t h e r o o t c o u l d a l s o be any one o f t h e s e n o t e s , t h u s o p e n i n g t h e way t o move t o o t h e r t o n a l a r e a s w i t h o u t f o r m a l m o d u l a t i o n , a n d , m o r e i m p o r t a n t l y , w i t h o u t c r e a t i n g a j a r r i n g e f f e c t . On p . 4 3 ( t h i r d m o v e m e n t ) an o s t i n a t o , b e g i n n i n g i n t h e p e r c u s -s i o n , f o r m s one o f t h e m a i n s t r u c t u r a l e l e m e n t s . The u s e o f an o s t i -n a t o as a s t r u c t u r a l d e v i c e i s n o t w i t h o u t h i s t o r i c a l p r e c e d e n t , as c a n be o b s e r v e d f r o m t h e s t u d y o f v a r i o u s w o r k s , i n c l u d i n g R a v e l ' s B o l e r o , S i b e l i u s ' 5 t h S y m p h o n y , and S t r a v i n s k y ' s Symphony o f P s a l m s . The o s t i -n a t o and t o n a l l a n g u a g e i n t h e t h i r d movement a t p . 55 b e a r a s l i g h t r e s e m b l a n c e t o a p a s s a g e f r o m S h o s t a k o v i c h ' s 5 t h S y m p h o n y . The t i t l e " M a r c h " r e f e r s t o t h i s a l m o s t a l w a y s p r e s e n t o s t i n a t o , w h i c h t h o u g h s o m e t i m e s h i d d e n , c o n t i n u e s t o t h e end o f t h e p i e c e . The u s e o f o s t i -n a t o i s m o s t l i k e t h a t f o u n d i n B o l e r o , t h o u g h , t h r o u g h o r c h e s t r a t i o n , tempo c h a n g e s and d y n a m i c c h a n g e s I t r y t o m i n i m i z e t h e o b v i o u s n a t u r e o f t h e t e c h n i q u e . 6 I n r e f e r e n c e t o c o n s i d e r a t i o n s o f m e d i u m , I c h o s e t o compose a p i e c e f o r w i n d e n s e m b l e r a t h e r t h a n f o r c o n c e r t band f o r two r e a s o n s : f i r s t , I w a n t e d t o w r i t e a c o m p o s i t i o n t h a t d i d n o t r e l y on t h e t y p i c a l l o u d s o u n d o f a l a r g e b a n d ; s e c o n d , I w a n t e d t o e m p h a s i z e t h e d e l i c a c y p o s s i b l e w i t h i n t h e more l i m i t e d f r a m e w o r k o f a s m a l l w i n d e n s e m b l e . Though t h e h a r p i s e l i m i n a t e d f r o m t h e t h i r d m o v e m e n t , w h i c h i s f a s t e r and l o u d e r t h a n t h e o t h e r s , i t n e v e r t h e l e s s a d d s d e l i c a t e e f f e c t s i n o r c h e s t r a l c o l o u r t o t h e o p e n i n g m o v e m e n t s . I t i s t h i s d e l i c a t e e f f e c t i n o r c h e s t r a t i o n t h a t I h a v e t r i e d t o e m p l o y w h e r e v e r p o s s i b l e . T h u s t h e r e a r e many q u i e t p a s s a g e s and an a l m o s t c h a m b e r m u s i c a t m o s p h e r e i s c r e a t e d . To c o n c l u d e , I f e e l I h a v e i n t e g r a t e d some i m p o r t a n t t r a d i t i o n a l t e c h n i q u e s w i t h a more c o n t e m p o r a r y t o n a l s t y l e . The work i s d i f f i c u l t t o c a t e g o r i z e f o r m a l l y , b e c a u s e t h e f i r s t and t h i r d movements a r e n o t t r a d i t i o n a l f o r m s . The f i r s t movement s i m p l y h a s t h r e e t h e m e s w h i c h a r e p r e s e n t e d i n d i f f e r e n t w a y s - - t h e f i r s t and m o s t i m p o r t a n t i s s t a t e d c l e a r l y i n m. 1 8 - 3 0 . I t i s B a r o q u e - l i k e and s i m i l a r t o t h e f i r s t t h e m e o f t h e t h i r d m o v e m e n t . The s e c o n d theme i s s t a t e d m o s t c l e a r l y at m . 31 and e s s e n t i a l l y o u t l i n e s c h o r d s , b e g i n n i n g w i t h a t o n a l c e n t r e o f B . The t h i r d t h e m e , more j a g g e d t h a n t h e f i r s t , a p p e a r s i n m . 6 6 , and i s n o t l o n g d w e l t upon b e f o r e v a r i a t i o n s o f t h e s e c o n d theme a p p e a r i n t h e b r a s s at m . 7 0 . T h e r e f o l l o w s a h e l d c h o r d and q u i c k c l i m a x i n m . 8 0 , f o l l o w e d by a 4 - b a r d e n o u e m e n t . T h i s c o n c l u s i o n i s a good e x a m p l e o f t h e r a p i d c h r o m a t i c movement I f i n d " t o n a l l y " a c c e p t a b l e . 7 The t h i r d m o v e m e n t , l i k e t h e f i r s t , i s c e n t r e d i n C , b u t t h e t o n a l -i t y i s s h i f t i n g and a m b i g u o u s . The f i r s t theme b e g i n s at m . 5 , m o v i n g f r o m F t o F l t o A t o A l i n a 6 - b a r s e c t i o n . The s e c o n d theme a p p e a r s a t m . 53 and c o n t i n u e s u n t i l t h e c l i m a x at m . 8 7 . A f t e r a s l i g h t p a u s e , m a t e r i a l f r o m t h e o p e n i n g movement i s r e s t a t e d , w i t h some v a r i a t i o n and a u g m e n t a t i o n , and t h e p i e c e c o n c l u d e s w i t h an EM a g g r e g a t e . I f e e l t h a t t h e p i e c e m i g h t a p p e a l t o b o t h g i f t e d and a v e r a g e l i s t e n e r s . The i n d i -v i d u a l p a r t s a r e n o t c o m p l e x o r d i f f i c u l t t o p e r f o r m , b u t t h e r e s u l t i n g e n s e m b l e y i e l d s an o v e r a l l c o m p l e x i t y . What makes t h i s work i n t e r e s t i n g and i m p o r t a n t a r e t h e t h r e e k e y m e t h o d s I h a v e e m p l o y e d i n o r d e r t o d e a l w i t h t h e p r o b l e m o f c r e a t i n g a t o n a l work w i t h a t o n a l e l e m e n t s , as m e n t i o n e d i n my o p e n i n g d e s c r i p t i o n . T h e s e s a r e : (1) The u s e o f M 2nd a g g r e g a t e s t o e q u a t e w i t h c h o r d s , ( 2 ) t h e u s e o f c h r o m a t i c i s m i n a way t h a t d o e s n o t a n t a g o n i z e t h e e a r s o f l i s t e n e r s who d i s l i k e t h e k i n d o f c h r o m a t i c i s m f o u n d i n e a r l i e r t w e n t i e t h - c e n t u r y w o r k s , and ( 3 ) my a b i l i t y t o d e a l w i t h n o n - f u n c t i o n a l t o n a l i t y i n a way w h i c h i s u n i q u e l y m i n e . I t i s my hope t h a t o t h e r c o m -p o s e r s w i l l s e e t h e p o s s i b i l i t i e s t h a t I h a v e e x p l o r e d as a b a s i s f o r f u r t h e r e x p l o r a t i o n . T H R E E M O V E M E N T S 1. C O L L A G E 2. P A S S A C A G L I A 3 . M A R C H SCORE IN C Instrumentation Piccolo 1st and 2nd Flute: 1st and 2nd Oboe Eb Clarinet 1st and 2nd Bb Clarinet Bass Clarinet 1st and 2nd Bassoon 1st Alto Saxophone 1st Tenor Saxophone Percussion 1 (vibraphone, tambourine, suspended cymbal,glockenspiel, tam-tam, timpani, snare drum, tom-tom, crash cymbal) 1st Horn in F 2nd Horn in F 1st Trumpet in Bb 2nd Trumpet in Bb 1st and 2nd Trombone Tuba String Bass Piano Harp Percussion 2 (glockenspiel, suspended cymbal, tam-tam, tambourine, snare drum, bass drum, tom-tom, crash cymbal, timpani) A l l instruments sound as written, except piccolo , an octave higher, glockenspiel two octaves higher, and string bass an octave lower. Duration: ca. 13.00" I, C O L L A G E EE W\Or\Mi- * * * * * * * * 3 3C T P 1 —i— 1^  s i P 4 as 1 3= m m I I 1 3 5 1 7 1/ T ' 8 9?= r — 1 fr 1^4 r X \ - U ' - P n t r - * ^ ' . f t , , I f -(lyja 1 n : b «. * — ^ — = * — j ' / r ' ' YK x r - ^ - * ^ T>f> ^ 1 1 —1 ? "S \>-— r k r ^ - — ——*—v-^-^ v * , Pi *—— t") » — r r. - i 7 v Y i * — * : 1= J A = 1 i 7 ? — V — L_J_L_J ^ L _ * L _ J ^ \ _ s — 1 ^ r 1 -y- b i — > — f •> ->— V n > 1> > •) ; n JR —w—=; T > — —r^-— r ~ t r / * 1 2= W C JT n ^ v < - » — ^ ^ y v1 ^ — - — y ^ j 1 = X ^ | ^ ' — * ^ •*-+-*-+ — 1 — T — ' y - — « — • — f — — A O — U J — 1 1 n — i 3 — , — (y p\ i — i — » — v ^ i ^4 1 — f fr r — ^ — *~" —jTT* \D _ 1 — ^ f 1 * - — f \r-r M \ ff'| N ( — * ^ r — r - n a ^ L J — L -\ 1 , — L _ j ^ Y \ ] ^ ' .HP \ ^ — i t \ i = H n 1 =: •\ = ! ^ ' 1 • i 4 f' «'> 1 , ; — ^ k, ( j , • - = ; y 1 f -r- "^T ^ 1 — 3 -^ i j < l v ; / , _ c ^ — £ — K T S & — —F—T~tf 7 , )> * — S i ! -JvO—-^ j N — / r — — r ^ H n ^-1— j ? *> i 1—k Ms- — d - h» ' f 7 $t—1—1— r 1 r-i > — H I V> 1 t-^ T ? 1—Vr| f 11/ v , r *» r, 1 •F— — —V-—' b>—5 fe— V r i 1 Y-—• |r^— €; \ — M 1 \ = F =^ — H \ ^ M "ft If tTH j i t f -i 'Hf -,—7 ,, ^ WO-: 1 1 b p 1 A * ' 7 1 i " 1 r I-s \ = . 7 -»* > ? » V i — H — r - i — ^ — t ^ T -to* f f b i Vx-^  > 7—WT 1 h — p — — * — V f l ^ T ^ = - f r -1 y 7 ^ fe^= -$—)—i-jb—^~tf— ^ ^ Y _ V — ^—-—V-' IS \j\ = \ o 25 7 ,4t •+ Ot. sr. I I P Mil .ro^1 rSTT rn? i n~n jTjHi us WW m k m (Via •9 D ,.1 ) JI? •y -3 1 3 £ 1* L i , ' 1 j 1 rf 3 g J 3£= = 4 f 1 - ^ V : — f 1 K T T - •}—k— V I ^ jlr—x • . ^ i — h i ^ f v = F--f—y—^—Y ——f— —1 =— * ^_—J. 1 t — i i — U — L - i * r . v > 1 ) , . ' ) , l ^ * n f — | T " t / A 1 V 1 , | f 1-v m 4 « _ m vi • a— a — U 4 — i 4 ^ — ^ — ! — s — - * ^ w "-_ V - \ . .. r — i —L... l 5 — ¥ ^ 1 T — ¥ ~ \ ~~¥—1 * * T—"PT =^ 4= - » Y F 1 V7 <' < — • i r fe i r hr— o*w-32: -e-5 1 3 -\ 2 HE • 32 a s ST 2 ^ 55 i 1 3 W fe 1 ^3= 3 S T A 1 P L 4 5w i 4 T i t 5?7 If m ¥ -> J 1 1 '/ ^ i H * <a*v l i m 4|s -ar-3 ^ .  mm K f e E Ml P P I I PASS A C AGL I A ft ^ 4 II i i f f A T f i i T i s i I * £ flT f j i i i 2 'to™1-*. ^ ^ 5 ^ 3 i i 1 Tufa 0=z 3 v>r~ H i 3 f e 2=g 3 [13*0 I 1 m l b . 1 1 4 — , — V - > w y ' f — H i i • 1 y M - T - J ^ ^ — r P V , w ) •*w / • -n-^f / V . • < . 1 — P—b l c i J ; — /••* \ = •J—« W - 5 — 1 — 2 — ^ - j y^—i >—tri—M-»—R- y fh W* = \ -—^ ~i—HH—*— / ^ J ) . ' • • 1 * 1 -ft-**" .7 1 ••7 W _ i •\ — —<a_= -W= j A = y = •r O T 34 < ' 4 \ 5 1 = 3EE i s =75 T l a » M A R C H AO W 6*\ i it} i i n 4? ~ h 1 ; n u i s : «. ? 2-2-m m tl L -AS M " 0 1 mm m * — ^ *—«• r i » 1 JL. -*-B if i s : 4fi 1 -ry-4 f e a t Wrr. n T J J j n ..n j \<lf~~ ^ > 4 I O ~ ' 6 ' ^ . . o * ?m • • • M ^ f , i | | h r v = . ; flQ — , Z "—-f%\ — B — p g -r— _ j — ) 2 j — 3 . 4 ; — : — t — | - _ ^ «=——if-= T f = - o —' ^ — - » . — 7 — ^ — h — T — ; " m 1 4 1 = QQ •*"" )'' '  1 0* " *£ 1 - T T — " ^ f r — * f—^ 1 f ^ -~k r*fr ^—f—=j—?—7-f-: ' ' , . = ^ 4 4 ^ = flLr K t— IJjf • • ^ * — = J 7 V 7 ^ f y - L k i — y v — i -- ' = ; • / »»• " ' B V -1 =  k-r ^ y - d-u ^  ^(•flp ^ — T — h — T — ^ fr 1 f f f 7 ^ 7 ]> 7 t-' ^ o — ••• • r n 7 j v . = f e t ftf ,r^ N s h—s—k K m i | j J 7 7 j M -to*-f 7—f / f ? f r Jr V. ' ^ 7 J A — i \ {* ffi b , t> , =b= r p |> ,=5=44 i — — It i= f): >» ^ P r — f - * H f * f =*=" F r r : »? f r r ' V 1 1 1 = \ \ \ \ ' 1 1 ^== -M 1 1-—\— i. n n i = ; HA*" ( H ( n n u / 1 4 = = = — = 1 1-I k 4 — — t' ,.' r-h—7 J 1—T--J IT-" ir * .8/ \ i y < i * ' * * 'F ' F F F •"'»» U 1 7 ^ V 1 > H i ^ - n n i l a Lf U i -» R — F H — = j L f t l f i - I fl R-\ ^ L f C J = £ = F i I f I F > "7 1*" m IN P I a2, r r f r u t 8 £ 7 ? 31 -i^Lf' 111* 1 TO 1 1 ^ n n \: g' • • '• M 1 •  • • .. 1 M • \ n n n n \ n . . n — v 5 ^ if^H  7< 5 T a ; 0< K-4 E l -4 7 E£ E £ VIA* •X. SI ESSE i f m 0 m p. pip T T 1 E £ MS 5 ^ 5 1> is 1 9 m ^ V f. r E1 rr p u r L4-_. — 25= T i i -• 1 u u I U . U E * *—• 0—0 0-\ Lit V> i • 5 5 " " • -1 "7 <f f «> T T = f Y 1 I f m ^ — - 4 krz^ — 1 ' ' i; T — f c a J — i ^ j s - J — 1  — — ' t ^ f t Mi-*az& • 1 I * 1 1 f ' i 1 - T T T t = U-. p'" ] a* * A / a i * ^ - — . 1 hi' r J r : i 1 1 1 i 4 ^ 1  rT fD, . - -1 ^ V ^ 1  u |-f ^ H * 1 f f f # A c g f f y — r 1 ( i | f f $=f f f : / [ u u \ = 4 — v — f = i — f * f — I [ LI L J \ — p — " i \ T 1 \ Wi—X \ r * — r - \ ^ U \ J V — \ f = 1 PI \ :JM ii ii I = \ p n=#= \ y n n 1 AM •/ s 1 s i ^  y — fc > * » - » fr-s—g> fr— — \ ' ' j t - 2 S—^—£-2—£ ^ r ^ ^ -g—-r—-• — 1 — > — \ •~XH * T - i r S 1 i - -1= \ \ ^ \ 1—* m " 5* r r— 1 > !— f— _^ f . _^ 1 u •• L \— 1 ' 1 M ^ . 1 ? - - n " A . A 4 !/ * '- = '1 ' K ^ ^ u s—f I f •' = ^ = — ^ — f — I = . n n l : c j 1 -1 1 n r 3 = t = \ n r.i_ \ p i r>4=4 =L< _# p — — — » —^0! 0—0 0 — m 0  - 1—* •—* •—• 1 \ \ 1 \ 1 V. — * » ^ » - — 9 y- f Lf Lf p a* : \ 11 n \ « — # — i 4 ft. *3~ i f f J L f f 3 1 IJiJJ n n A i I E S E ^ El rt 1 * E! / », 0 0 0 0 0 \ n n \ j n n \= + *-+ 9~* r— E^ 00 » » *» .# .# .* ,# .0 A . - - 4 1 1—t \ i \ f.f Lf} 1 —1 h—i—f -^ t A n n J i I ii i =\ K C 1 f F C 1 LJ J H .n J _4 *\—^—4—*\—q L i n n = j F g l i - n: >—=* ^ — — i r t L i LX=^H —* ^ ... , gffft — i i — fc.—.--4 L * a—4 4 - * ' 4 —•> »f—* —\ ^ ?• \ —J—5—3 — — i ^ ^ 1 - 1 =#= r f —"7 3 ? = I ' ^ * ' t#= ^ 7 —i—^ 5* ? V > \ ^ = ! -E* c_a % 7 f \ Y |r 'Li 1 " ^ | L L T ^ ^ M =4 —"r-—*—t =?— t5? * * TTF" " — 1 fc "; V : —IF ^ 15 - - - ^ - i — r \ — — \ —^—w r-JP< i r - i n i t ..j^ —•• r n — 1 •  1 / +• 9—0 0—0 #^  ' <t <^ —^  0—0 ^ »—0^ 0— <r 0 0 '—0 0-*^ • 0 — w y ~~^==~ \f l o o r 59' p 7 ; . j / h i ' J - - ^ / * 7 = 3* 6 f I i n n n n r M f « • V 

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